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The Mesmerising Menace. The Dark Tower is directed by John Harlow and is adapted to screenplay by Brock Williams from the play George S. Kaufman and Alexander Woollcott. It stars Ben Lyon, Anne Crawford, David Farrar, Herbert Lom and William Hartnell. Music is by Jack Beaver and cinematography by Otto Heller. A failing circus employs a mysterious hypnotist to boost the coffers, which with his skills working superbly makes the show a huge success. However, as Torg (Lom) begins to realise his worth to the show, and starts to make designs on the leading lady of the high-wire act, things quickly turn nasty... The play of the same name had already been adapted to the big screen in 1934, where titled as "The Man with Two Faces" it was directed by Archie Mayo and starred Edward G. Robinson. Here this version differs, but on core principals the story remains thematically the same. It's not a particularly strong plot, with it being a variation on the Svengali story, it never really breaks free of safe narrative projection. Yet it's well constructed by Harlow and in fourth billed Lom (the acting highlight by some distance) the pic has a character to really boo and hiss at. Comic relief comes in the form of Frederick Burtwell and Elsie Wagstaff as a married couple dominated by the wife, while all the various circus acts we see, notably Crawford's high-wire hypnotised balancing act (well shot for breath holding rewards), are hugely enjoyable - even if some come off as padded filler. Having the talents of Heller on photography duties is a plus point, he knows how to light a scene for atmospheric gain, though he would be seen at his noirish best in "Queen of Spades (1949)". While of note is that ace Hammer Horror director Terence Fisher is on editing duty here, though he certainly was a better director than an editor... It's no must see unless you be a fan of the stars, mainly Lom in this instance, but in spite of a daft revelation at pic's end, this is above average and holds its own as a competent circus based thriller. 6/10
Herbert Lom is superbly pervasive in this drama about the hypnotic "Torg", who alights on a struggling circus run by "Phil" (Ben Lyon) and his brother "Tom" (David Farrar). He introduces them to a game-changing acrobatic act that soon has the crowds turning up in droves. As success starts to come, "Torg" seeks more from the pair, and from his high-flying partner "Mary" (Anne Crawford) and when they start resisting his demands, things start to take a some distinctly threatening turns. At times, it's got a really effective feel to it, this film - the cast work well together and Lom really has an eeriness and creepiness about his personality that exudes as good a degree of menace as I've seen in ages. Unfortunately, though, the dialogue is poor as is the overall pace of the story - far too many distracting circus routines and romantic sub-plots that drag it down when "Korn" isn't driving the storyline. Pity. Had John Harlow focussed more on his best asset - the nasty and increasingly egregious character we could have had a better film. Still, it is a good watch.
When Gelsomina, a naïve young woman, is purchased from her impoverished mother by brutish circus strongman Zampanò to be his wife and partner, she loyally endures her husband's coldness and abuse as they travel the Italian countryside performing together. Soon Zampanò must deal with his jealousy and conflicted feelings about Gelsomina when she finds a kindred spirit in Il Matto, the carefree circus fool, and contemplates leaving Zampanò.
Throughout his life Edward Bloom has always been a man of big appetites, enormous passions and tall tales. In his later years, he remains a huge mystery to his son, William. Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures.
Two angels, Damiel and Cassiel, glide through the streets of Berlin, observing the bustling population, providing invisible rays of hope to the distressed but never interacting with them. When Damiel falls in love with lonely trapeze artist Marion, the angel longs to experience life in the physical world, and finds - with some words of wisdom from actor Peter Falk - that it might be possible for him to take human form.
Oskar Matzerath is a very unusual boy. Refusing to leave the womb until promised a tin drum by his mother, Agnes, Oskar is reluctant to enter a world he sees as filled with hypocrisy and injustice, and vows on his third birthday to never grow up. Miraculously, he gets his wish. As the Nazis rise to power in Danzig, Oskar wills himself to remain a child, beating his tin drum incessantly and screaming in protest at the chaos surrounding him.
James Bond is sent to investigate after a fellow “00” agent is found dead with a priceless Indian Fabergé egg. Bond follows the mystery and uncovers a smuggling scandal and a Russian General who wants to provoke a new World War.
A child is born. We see underwater swimmers representing this. He is young, in a jungle setting, with two fanciful "instincts" guiding him as swooping bird-like acrobats initially menace, then delight. As an adolescent, he enters a desert, where a man spins a large cube of metal tubing. He leaves his instinct-guides behind, and enters a garden where two statues dance in a pond. As he watches their sensual acrobatics of love, he becomes a man. He is offered wealth (represented by a golden hat) by a devil figure. In a richly decorated room, a scruffy troupe of a dozen acrobats and a little girl reawaken the old man's youthful nature and love.
A circus performer falls in love with the son of a plantation owner in antebellum New Orleans. When the young man's stepmother objects to the wedding, the couple break apart and go their separate ways for a time. Also in the mix are two circus comics who feud over the heart of another Southern belle.
A naive young man witnesses an escalation of violence in his small hometown following the arrival of a mysterious circus attraction.
At the height of the Great Depression, the showman of a renowned circus leads his troupe through the devastated American landscape, lifting the spirits of audiences along the way. During their travels, they discover a man without limbs at a carnival sideshow. However, after an intriguing encounter with the showman, he becomes driven to hope against everything he has ever believed.
Raju faces many hurdles and disappointments in matters of the heart throughout his life. But as a clown in a circus, he tries to make his audience laugh at the cost of his own sorrows. Along the way, Raju loves and loses, but must always keep a smile on his face because, in the words of his circus manager, "The show must go on."
A former circus artist escapes from a mental hospital to rejoin his mother – the leader of a strange religious cult – and is forced to enact brutal murders in her name.