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I have indirectly been touched by war through my mother. She would seldom talk about her eldest brother but when she did, her obvious love, was always tinged with pain of recalling his loss, at a young age, during war. I'm glad "Number 24" was made.Its bridges the emotional divide between those who have known the pain of loss, of hope, of life and freedom imposed by war and those who have known only peace. I think its a timely message too. As we are seeing, once again, the spectre of global war is slowly raising its hideous head with the loss of personal freedoms, particularly free speech, that accompanies its approach. We all need to understand what war means to appreciate how sacrosanct peace and freedom, really are. Never listen to those who tell you "safety" is a substitute for freedom. Its not. In summary, a moving, compelling, insightful film, that's a wake up call for humanity.A must see, I feel for the young, who may not fully understand how important peace and freedom, really are.
Resistance in the face of tyranny is one of those topics that can make for truly great filmmaking, especially when the subject is timely (as many would contend it is currently). And the latest offering from director John Andreas Andersen serves up an inspiring and engaging tale in that vein. The film follows the experience of Norwegian resistance fighter Gunnar Sønsteby (1918-2012) (Sjur Vatne Brean) in his courageous efforts to take on Nazi invaders who took over his homeland during World War II. Working under the code name Number 24 with a band of longtime friends under the direction of British special forces and the Norwegian government in exile in the UK, Sønsteby coordinated and led an array of raids on German assets in Norway, often at great risk and tremendous personal cost. He also frequently found himself wrestling with his conscience, especially when it came to confronting fellow countrymen who had become Third Reich collaborators, including some individuals he knew personally. Sønsteby’s heroic exploits are presented through a series of flashbacks delivered through a lecture given to students at his alma mater in which his elder self (Erik Hivju) details a variety of these wartime incidents and attempts to answer probing questions from young audience members seeking to understand his motivations and intents in carrying out this mission. The film thus examines the conflicted feelings that he and other peace-loving Norwegians had to contend with at a time when their lives, freedoms and national sovereignty were very much on the line. Andersen does a highly capable job in telling the story of this much-celebrated national hero, even if the narrative is somewhat episodic at times, particularly in picture’s sometimes-meandering opening half hour. Nevertheless, “Number 24” effectively relates an aspect of World War II little known outside of Scandinavia, letting the world know of the bravery of a civil society that rose to the occasion when their liberty and autonomy were threatened in the face of brutal, unrelenting treachery. It’s a lesson we should all take to heart, especially when these conditions loom and place us in a position of vulnerability. Indeed, we should all take heed of the message of this important cautionary tale.
A couple sets up an African game preserve, only to have British and Italian armies fight over the waterholes.
A young Catholic priest from Boston confronts bigotry, Nazism, and his own personal conflicts as he rises to the office of cardinal.
Intercutting dramatic vignettes with newsreel footage, the story follows the characters from an infantry squad as they make their way from Sicily to Germany during the end of World War II.
The story of the battle of Iwo Jima between the United States and Imperial Japan during World War II, as told from the perspective of the Japanese who fought it.
German artist Kurt Barnert has escaped East Germany and now lives in West Germany, but is tormented by his childhood under the Nazis and the GDR regime.
During the Battle of Sutjeska, partisan troops must endure 24 hours of big and heavy attacks on German units Ljubino grave, to the main Partisan units, with the wounded and the Supreme Headquarters, pulled out the ring that is tightened around them.
In the spring of 1944, in the Woëvre forest of Lorraine, a group of young maquisards takes in four German deserters. led by Saint-Brice is based in the Woevre forest. Lise, a nineteen-year-old girl, is their liaison officer. One evening, four German soldiers turn up as deserters. After a period of doubt, the maquisards agree to integrate them into their group. Lise falls in love with one of the newcomers, Werner, and becomes his mistress. One day, she leaves on a mission with Lucien, and comes across an enemy patrol. The SS shoot Lucien and free Lise. In the camp, people begin to think that the maquis has been betrayed.
In 1911, a willful and determined man from peasant stock named Charles Saganne enlists in the military and is assigned to the Sahara Desert under the aristocratic Colonel Dubreuilh.
As a 13-year-old, fledgling writer Briony Tallis irrevocably changes the course of several lives when she accuses her older sister's lover of a crime he did not commit.
WWII is entering its last phase: Germany is in ruins, but does not yield. The US army lacks crucial knowledge about the German units operating on the opposite side of the Rhine, and decides to send two German prisoners to gather information. The scheme is risky: the Gestapo retains a terribly efficient network to identify and capture spies and deserters. Moreover, it is not clear that "Tiger", who does not mind any dirty work as long as the price is right, and war-weary "Happy", who might be easily betrayed by his feelings, are dependable agents. After Tiger and another American agent are successfully infiltrated, Happy is parachuted in Bavaria. His duty: find out the whereabouts of a powerful German armored unit moving towards the western front.
On the 29th September 1945, the incomplete rough cut of a brilliant documentary about concentration camps was viewed at the MOI in London. For five months, Sidney Bernstein had led a small team – which included Stewart McAllister, Richard Crossman and Alfred Hitchcock – to complete the film from hours of shocking footage. Unfortunately, this ambitious Allied project to create a feature-length visual report that would damn the Nazi regime and shame the German people into acceptance of Allied occupation had missed its moment. Even in its incomplete form (available since 1984) the film was immensely powerful, generating an awed hush among audiences. But now, complete to six reels, this faithfully restored and definitive version produced by IWM, is being compared with Alain Resnais’ Night and Fog (1955).