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The rain falls hard on a humdrum town... Woman in a Dressing Gown is directed by J. Lee Thompson and written by Ted Willis. It stars Yvonne Mitchell, Anthony Quayle and Sylvia Syms, music is by Louis Levy and cinematography by Gilbert Taylor. It's something of an inauspicious title, a title hardly conducive to making this piece of film leap out at you, to shout that it's essential British cinema. How wonderful to find that not only is it a title completely befitting the material being played out, but that it is actually essential British cinema. It's little known and very under seen, in fact myself was only introduced to it by a Canadian friend! The story centers on a London family of three, husband is away earning the corn at the office, teenage son is just starting out in life after school, and mother? She's on housewife auto-pilot, but disorganised with it. Her auto-pilot world is shaken to the core when it is revealed that husband is having an affair with his personal secretary, a smart and beautiful younger sort who is demanding that husband divorces wifey or it's all off... It sounds very kitchen sink, but actually it's not, it's a very smartly written picture giving credence to mental illness, to the shattering blows of infidelity, of a crumbling family dynamic, a family that in truth is homespun. Ordinary? Yes, but safe as the red brick built poky flat they dwell in. We are not asked to take sides here, to chastise or judge, Thompson and his superb cast merely ask us to delve into their world, to understand it, the psychological humdrum of 50s Britain, the starkness of marriage does mean growing old together, but that nobody ever said it was going to be easy. Looking at it now it can be viewed as a very important film in the trajectory of British cinema, Mitchell's character is the fulcrum, making the film a must see as regards the evolution of how women have been represented in Brit cinema through the years. Thompson, better known for tough macho fuelled movies on his CV, does a wonderful job in letting us feel the anguish and emotional turbulence. Hazy camera shots couple up with stark framing of the objects in the cramped flat, all marrying up to the fractured nature of Amy & Jim's marriage. There's even humour to be found, very much so, with Louis Levy's musical cue accompaniments deftly shifting from seething passions to Ealing like comedy as the home life of Amy is scattergun in execution. Kitchen sink, social realist, proto realist and etc? No! This has no pigeon hole to be placed in, it's just terrific film making, from the writing, the performances, the direction and its worth to anyone interested in classic British cinema, this demands to be sought out. And for the record, the last 20 minutes of film will move and invigorate the coldest of hearts. 9/10
When the wife of a 17th century Kyoto scroll-maker is falsely accused of having an affair with his best employee, the pair flee the city and find themselves falling for one another.
Kaiyethum Doorath movie tells a flashback when Sachin (Shanu) is on his way to attend his lover's Sushma (Nikitha) marriage as he tells his past to the co-passengers on a ferryboat who gets hooked on to his love story. What happens at the marriage forms the interesting twist in this love story.
Five random strangers find themselves trapped in an elevator in the World Trade Center's North Tower on 9/11. They work together, never giving up hope, to try to escape before the unthinkable happens.
After a crippling injury leaves her husband impotent, Lady Chatterly is torn between her love for her husband and her physical desires. With her husband's consent, she seeks out other means of fulfilling her needs.
Evan Bonner is a deserter from the Vietnam war; he is on his way back to America to give himself up when he meets Deirdre McCluskey, a beautiful if petulant model. The two make an unlikely couple, but once in France the magic of Paris works its charm and these two vulnerable people finally find each other.
A hedonistic soccer mom embarks on a strange journey of self-discovery, seeking to reconnect with her estranged son by returning his pet rock back to the island of Menorca, Spain.
A troubled Southern man talks to his suicidal sister's psychiatrist about their family history and falls in love with her (and New York City) in the process.
Marlene is a 2000 German biopic film directed by Joseph Vilsmaier and starring Katja Flint, Hans Werner Meyer and Herbert Knaup. It follows the life of the German actress Marlene Dietrich and her success in Hollywood.
Michael Morda, a young sculptor living in San Francisco, is madly in love with Elinor Hunter, and they plan to be married. When Elinor becomes jealous of Julie Stressman, an old friend of Michael's and one of his models, Michael reluctantly asks Julie not to visit him at his studio. They agree to meet only at the construction site where he is working on a sculpture for which Julie is modeling. When Elinor also shows up at the site, Julie leaves so as to avoid a confrontation, but she is killed by some falling materials. Julie's dying request is that Michael adopt her daughter Mitzi, whose father died years earlier. In order to prevent Mitzi from being taken to an orphanage, Michael lies and says he is her father. Elinor hears this, and without asking questions, leaves him and marries another man the same night.
Berlin, Germany. A cruel murder took place in an appartment building. Somebody bit off quite a piece of the victim's penis, who then, of course, lost a lot of blood, before being struck down at the head. Leading investigator Bernhard Kominka, being in stress due to a mentally retarded son and a problematic wife, seems to be the only one to see a lady in a red coat. After a while, his theory of her being the murderer may prove to be true, but the Cop also kind of fell in love with this new, interesting person in both of his lives: professional and private as well. Borders dissolve. His decision may be disastrous in any way.
Felicie and Charles have a whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in a cold Paris with a daughter as a reminder of that long-ago summer. For male companionship she oscillates between hairdresser Maxence and the intellectual Loic, but seems unable to commit to either as the memory of Charles and what might have been hangs over everything.