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Red Flag- Musics Failed Revolution - (Nov 15th)
After Midnight - (Nov 15th)
Alaska PD - (Nov 15th)
Dateline- The Smoking Gun - (Nov 15th)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Midnight Family - (Oct 2nd)
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Seoul Busters - (Oct 2nd)
American Sports Story - (Oct 2nd)
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The Gypsy Portent and the Woman of Deadly Nightshade. The Man in Grey is directed by Leslie Arliss and adapted to screenplay by Margaret Kennedy and Doreen Montgomery from the novel of the same name written by Eleanor Smith. It stars Margaret Lockwood, James Mason, Phyllis Calvert and Stewart Granger. Music is By Cedric Mallabey and cinematography by Arthur Crabtree. A forerunner of Gainsborough’s Wicked Women movies, The Man in Grey is a delicious slice of British noir pie. Proudly decked out in period attire, story is ripe with dastards, narcissists, connivers, the selfish and the cruel. Headed up by Mason’s Lord Rohan and Lockwood’s Hesther Shaw, these people will stop at nothing to get what they want in life. It doesn’t matter who is around them, friends and family etc, if they can in any way hinder their respective selfish goals then they will be trampled upon and not a further thought will be given. It all simmers to the boiling point where lives will not just be ruined, but also ended. The four principal players are great, their respective careers well on the way to leaving behind considerable bodies of work. Arliss (The Night Has Eyes) keeps the story simple in spite of the many character strands and traits jostling for meaty exposure, and photographer Crabtree (Waterloo Road) accentuates the miserablist ambiance with sharp black and white lensing. The use of blackface on white actors is awfully out dated, as is some of the dialogue, but don’t hold these things against The Man in Grey. It’s a darn fine bodice botherer, resplendent with characters straight out of noir’s dark alleyways. 8/10
James Mason is the spoiled, somewhat ruthless "Marquis of Rohan" who alights on the charming, if naive, "Clarissa" (Phyllis Calvert) and decides she is to be the mother of his heir. That's all he wants from her. No love or romance - just so long as he gets a child. She grew up with "Hester" (Margaret Lockwood) and when many years later, sees her acting in a play, she asks her to come and live with her in her palatial London home. Her infrequent visitor husband, accepts the idea on the basis that he will have a new playmate and soon the manipulative "Hester" is no longer content to be the mistress, but wants the title too. Add to the mix the gallant "Rokeby" (Stewart Granger), a man who has the measure of the venal and ambitious woman and we have a character driven period drama that moves along quite well for 90 minutes. Mason features sparingly, indeed it is the two ladies who drive much of the intrigue here, and for the most part - though the pace can be terribly slow at times - they do a decent job. The scenes at the end have stayed with me since I first saw this film 45 years ago, and are still pretty chilling. It's very much of it's time, this film. There are scenes and characterisations that don't sit so well 80 years on, but it has a more substantial story than many dramas of it's ilk and is worth watching.
A maverick British art house movie exploring solitude, sanity and suffering under The State. As a contagion befalls the UK a grieving teacher attempts to recover the tragic-comic fragments of his shattered self in Manchester.
Shamsher Singh (Kulbhushan Kharbanda) is a pure-hearted, selfless and God-fearing man. The only sad part in his life is that he is childless. One day, while returning from a pilgrimage, he and his wife, Bansa (Tanuja), find an abandoned child. They decide to bring up the child and name him Gurdit. Later, the couple has a child of their own. Both siblings grow to manhood, loyal to each other until a woman drives a wedge between them.
As things start to unravel in Ryan's life, he is left feeling vulnerable, insignificant and wondering why. With his priorities on everything but God, he begins to isolate himself from those around him as his hardships multiply. In the midst of the big-picture perspective his struggles give him, God places people around him to help him more clearly understand the profound plan He has for our lives. He relearns how to truly rely on God through the suffering life brings and how to be confident in the intricate plan that threads together perfectly like a tapestry.
The story of Singe and Kate, a couple from North Somerset, whose lives were turned upside down when Kate was diagnosed with an incurable breast cancer. Over her last few days, she created her list: writing her thoughts and memories down, to help the man she loved create the best life possible for their two sons, after she was gone.
When Guptan, a college lecturer, gets killed, the police suspect Gabriel to be the murderer. A girl takes help from her brothers, who are famous lawyers, in proving his innocence.
It’s game over for three young dreamers when their indie board game fails to secure crowd funding. But after a famous game creator drops dead in a freak accident right in front of them, they realize they have one extra life to make their dreams come true… at the expense of their humanity.
A powerful new verbatim play from the testimony of residents at the heart of the Grenfell Tower tragedy. Six years on, interviews conducted with a group of survivors and bereaved reveal the impact of the multiple failures that led to a national disaster, asking: how do we stop this ever happening again?
The behind the scenes story of the life of A.A. Milne and the creation of the Winnie the Pooh stories inspired by his son Christopher Robin.
Patricia Highsmith's haunting story of a day in a young girl's life when a kind stranger comes to town.
An ordinary funeral procession moves along its path from church to cemetery. Observing, you slip from reality into a place where time has lost its linearity, looping through the odd images thrown off by a distorted reality. Images of non-existence, of varying reflections of death issuing from both past and future, concrete yet abstract, horrible yet desirable. A family asks a young psychiatrist to be their guest for a while to untangle the circumstances of their father's illness. He's developed a suicidal fixation for ropes and knots among other things. While deeply involved in analyzing the patient's delirium, the doctor begins to lose track of what is taking place. The task of "how to help" is twisted into "who am I? Doctor or patient? Chance guest, member of this suffering family, or a catholic priest who has dreamed this all up?" In order to get a handle on it all, it's best to start from the beginning, but why do things keep shifting, changing?