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***Stands Alone in the Feature Film Series*** A colossal, mysterious space cloud called V'ger travels across the galaxy and threatens Earth, annihilating interlopers along the way ; the origins of V'ger are revealed at the end. "Star Trek: The Motion Picture" (1979) addresses some of the deepest questions of life: Is this all there is? Why are we here? Does love exist since it cannot be proved via pure logic? Who is the Creator? The core message is the intrinsic need to seek one's Creator and reconcile in order to attain a (necessary) higher level of consciousness. Those found the film boring simply failed to penetrate beyond the surface. Like the Star Trek episodes "The Corbomite Maneuver" and "Metamorphosis," “The Motion Picture" (TMP) is a mature, cerebral sci-fi story with very little action. Most kids and young adults won't like it or grasp it. It's depth is evidenced by the emotional wallop experienced when Spock grasps Kirk's hand in Sickbay, truly revealing emotion despite his conflicting desire to attain a consciousness of pure logic; or later when Spock weeps for V'ger and comments on its personal dilemma, which perfectly coincides with Spock's own search for fulfillment: "As I was when I came aboard, so is V'ger now: empty, incomplete and searching. Logic and knowledge are not enough... Each of us at some time in our lives turns to someone — a father, a brother, a God — and asks, 'Why am I here?' 'What was I meant to be?' V'ger hopes to touch its creator to find its answers." Another powerful sequence is a crewman's self-sacrificial fusion with V'ger so that it may evolve to the next level of awareness (seemingly self-sacrificial, that is). My conclusion on the film runs parallel to Roger Ebert's comments: "My inclination, as I slid down in my seat and the stereo sound surrounded me, was to relax and let the movie give me a good time. I did and it did." In other words, just accept the film as is, and you WILL be entertained ; put on a pot of coffee (you're gonna need it, lol), kick back and relish the movie magic. Let me add that TMP was one of the most expensive films of its time, but it did well at the box office and thus made a decent profit, a testimony to how hungry the public was for Star Trek after ten long years (since the cancellation of the original TV series in '69). In fact, aside from "Star Trek IV: The Voyage Home" (1986), TMP is still the most profitable of all the Star Trek feature films with the whole original cast (Making FOUR TIMES its expense worldwide); it therefore can't very well be the cinematic turd that many critics claim. Also, consider the fact that TMP made more at the box office than the acclaimed films "Alien" and "Apocalypse Now," both released the same year. I should add that, although this film is an "Grade A" picture as far as epic, awe-inspiring pieces of cinematic art go, I understand why some would grade it lower. In such cases I suggest making the necessary psychological adjustments and watching it again as it is more along the lines of "The Cage" than "The Doomsday Machine.” TMP is the sole Star Trek film that aspires to and attains a level of cinematic awe along the lines of "2001: A Space Odyssey." Actually, TMP is leagues better IMHO. "2001" lacks characters to care about; it's also cold and overly artsy, with way too many unnecessarily boring sequences. TMP, by contrast, has heart. Not to mention an interesting story that delves into the deepest of all universal questions. Say what you will, but "The Motion Picture" towers alone, utterly unique in the feature film series — a profoundly spiritual TRIUMPH. The movie runs 2 hours, 12 minutes. GRADE: A
BORING. I mean, it opens great. The first few minutes sort of give you the impression that this movie is going to be epic... ... and then the rest of it is best spent looking at your phone, cleaning your finger nails, watching linoleum curl, defrosting your freezer... ... finding anything else you can do as it plays in the background just to keep you form dying of Boredom. And I say this as a Star Trek fan.
To be fair, this film does pick up quite plausibly from the television series. The characterisations are roughly the same, if somewhat older - and that does help give it some cohesion; but the opening scene goes on interminably. The premiss is stretched to breaking point and riddled with metaphors and pseudo-philosophical clichés; and there is precious little action. Persis Khambatta who plays "Ilia" - the conduit between the all powerful alien power and our gang of intrepid adventurers - is almost robotic and sterile; as is the general plot of the film. It seems lost between an adventure film and one with a deeper message to convey; as such it delivers well on neither front. Luckily, there were more, better, films to follow - but this one is best forgotten.
A team composed of an aerospace scientist, an ex-Air Force general, and an industrialist conceives an ambitious plan to land Americans on the moon. From their base in the Mojave Desert, they construct and successfully launch a spacecraft named "Luna" that contains a cargo of four astronauts. But a critical miscalculation of needed power to escape the moon's gravitational pull may put the astronauts' lives in danger.
A rebellious teen uses his talent for pranks to outwit the security consultant who has taken the students at his prestigious private school hostage.
In 2030, AI is everywhere including the medical field, finance and security. Artificial intelligence has become essential in people's lives. They have come to completely trust AI, but artificial intelligence becomes out of control and it causes disaster.
An isolated teenager begins experiencing strange visions of crows and doppelgangers while he is on a train reminiscing over his past. As he is trying to find an explanation for these bizarre sightings, he is soon guided by another passenger on the train.
A crew of miniature aliens operate a spaceship that has a human form. While trying to save their planet, the aliens encounter a new problem, as their ship becomes smitten with an Earth woman.
The Elric brothers’ long and winding journey comes to a close in this epic finale, where they must face off against an unworldly, nationwide threat.
Ba'al travels back in time and prevents the Stargate program from being started. SG-1 must somehow restore history.
SG-1 searches for an ancient weapon which could help them defeat the Ori, and discover it may be in the Ori's own home galaxy. As the Ori prepare to send ships through to the Milky Way to attack Earth, SG-1 travels to the Ori galaxy aboard the Odyssey. The International Oversight committee have their own plans and SG-1 finds themselves in a distant galaxy fighting two powerful enemies.
Jerry Shaw and Rachel Holloman are two strangers whose lives are suddenly thrown into turmoil by a mysterious woman they have never met. Threatening their lives and family, the unseen caller uses everyday technology to control their actions and push them into increasing danger. As events escalate, Jerry and Rachel become the country's most-wanted fugitives and must figure out what is happening to them.
Caleb, a coder at the world's largest internet company, wins a competition to spend a week at a private mountain retreat belonging to Nathan, the reclusive CEO of the company. But when Caleb arrives at the remote location he finds that he will have to participate in a strange and fascinating experiment in which he must interact with the world's first true artificial intelligence, housed in the body of a beautiful robot girl.
When a huge alien probe enters the galaxy and begins to vaporize Earth's oceans, Kirk and his crew must travel back in time in order to bring back whales and save the planet.