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Firing on all Oscar-bait cylinders, _The Post_ is much more about the facts of the events than an insight into the people involved in them. It has some laughs in it, but it's far from a comedy. It's all "what" and no "why", but also, _The Post_ is built on this HUGE will-they-wont-they question with massive ramifications ("Will Nixon and LBJ be exposed") and it's what the whole 108 minute runtime is building up to, but... We already know. The things that happen in _The Post_ are real events that are common knowledge. So it's kind of... The mystery of the moral quandary was answered before you ever pressed play. I think with the state of journalism and even more so the state of politics the way it is now in America, that _The Post_ was a very timely film, and with a cast like this assembled, obviously nobody in it is bad. But does _The Post_ deserve the awards consideration it has gotten? Personally, I don't think it does. _Final rating:★★½ - Not quite for me, but I definitely get the appeal._
The movie is very interesting and clearly very curated in the cast and scenography. It tells an important piece of American history and is an ode to press freedom. However, I found it rather slow in development and a bit too lost in too many conversations. Lacks a bit of action/movement.
**An ambitious film, very solid and with a lot of quality, but which turned out to be forgettable.** I've honestly lost count of the movies about Nixon I've seen. And I understand that! In the history of the American presidential institution, few presidents have stirred up as much controversy. He was a president who not only was willing to use his whole power, but also who abused from its use. And the media was one of his biggest and most fearsome enemies. In this film, the point of originality is that the focus is never Nixon or Watergate, but the main figures of The Washington Post in the days before the scandal, when it was sued by the White House. It's not that kind of surprising originality, but it's enough. The script has its flaws, one of which is perhaps the attempt to insert the theme of gender equality in a corporate environment. This appears when we see all those men who are very hesitant about taking orders from a woman, even though she is undoubtedly the boss and owner of the company. The 70s were important for the feminist movement, but it was a young and rebellious layer that led the decade, and the role of mature women, like the owner of the Post, may not have been valued as it should have been. However, the theme seems to be lefting in the film, and it ends up frankly underdeveloped from the moment when she basically says “the newspaper is mine, I am the one who gives orders and I answer for them, and whoever does not want to obey can leave”. This strong attitude simply closes the matter. As for factual accuracy, I'm not the best person to talk, I can't say if the film does justice to the events. The strongest point of this film is, without a doubt, the talent gathering. Steven Spielberg ensures an impeccable direction and manages to give us a solid film, which will always, however, be a considerably minor work in his filmography. In addition, we still have a cast of cast-iron strong actors, led by Tom Hanks and Meryl Streep. And I don't think I need to say that this film isn't a particularly memorable piece of work for either of them. Perhaps, the film represented a good financial fit for them, just as it certainly represented a privilege for the rest of the cast, who had the opportunity to see them work and, eventually, learn something more, some of those things that are not learned in dramatization courses, but through practical experience. Technically, it's a pleasantly warm film. That third cup of tea that waited too long in the pot and ended up colder, but also thicker. It's the best metaphor to let you understand what I think: the environment and the theme give it density and tension, which, however, does not make it unnerving because it is done in a very moderate way, served cold. There is a period re-enactment effort that looks good, but it was necessary and could not be ignored. The soundtrack, by Williams, is forgettable, not to say mediocre (taking into account the composer's ability). There is a certain ambition in the project. The producers knew they were making a strong film, but the final product was not as good as they would have liked, nor was it memorable.
This is essentially a film about the freedom of the press - and how that terrifies even the most "democratic" of institutions. Disillusioned military analyst (Matthew Rhys) discovers the extent to which the US military had been misleading the government and population about the Vietnam War and takes some sensitive information to the Washington Post (initially, this is more about who gets the scoop - them or the New York Times) but rapidly the Post - edited by Ben Bradlee (Tom Hanks) decides it must get there first and with the support of it's ballsy publisher Kay Graham (Meryl Streep) they take on the political and judicial establishment to win the right to publish their story. The performances, under Steven Spielberg's direction, are fine - nothing much to write home about. The film is about journalism and the right of all of us to know what's being done in our name (and with our troops/money etc.), and is told in a adequate fashion.
Disappointed with humanity, God wants to revoke his contract with humanity and wants to take back the stone tablets containing the ten commandments. To this end an angel is sent out to affect the personal lives of three humans so an appropriate child may be conceived.
In 1940, author Richard Wright turns to Pulitzer Prize-winning playwright Paul Green to help adapt his best-selling book, Native Son, into a Broadway play. Days from opening night, they differ over a single page of the script.
The story of Dame Whina Cooper, the beloved Māori matriarch who worked tirelessly to improve the rights of her people, especially women. Flawed yet resilient, Whina tells the story of a woman formed by tradition, compelled by innovation, and guided by an instinct for equality and justice whose legacy as the Te Whaea o te Motu (Mother of the Nation) was an inspiration to an entire country.
A struggling salesman takes custody of his son as he's poised to begin a life-changing professional career.
From the mean streets of the Belleville district of Paris to the dazzling limelight of New York's most famous concert halls, Edith Piaf's life was a constant battle to sing and survive, to live and love. Raised in her grandmother's brothel, Piaf was discovered in 1935 by nightclub owner Louis Leplee, who persuaded her to sing despite her extreme nervousness. Piaf became one of France's immortal icons, her voice one of the indelible signatures of the 20th century.
In the 1970s, a young transgender woman called “Kitten” leaves her small Irish town for London in search of love, acceptance, and her long-lost mother.
The story of the romance between the King of Siam (now Thailand) and the widowed British school teacher Anna Leonowens during the 1860s. Anna teaches the children and becomes romanced by the King. She convinces him that a man can be loved by just one woman.
A group of male friends become obsessed with five mysterious sisters who are sheltered by their strict, religious parents.
Young Scottish doctor, Nicholas Garrigan decides it's time for an adventure after he finishes his formal education, so he decides to try his luck in Uganda, and arrives during the downfall of President Obote. General Idi Amin comes to power and asks Garrigan to become his personal doctor.
The movie's plot is based on the true story of a group of young computer hackers from Hannover, Germany. In the late 1980s the orphaned Karl Koch invests his heritage in a flat and a home computer. At first he dials up to bulletin boards to discuss conspiracy theories inspired by his favorite novel, R.A. Wilson's "Illuminatus", but soon he and his friend David start breaking into government and military computers. Pepe, one of Karl's rather criminal acquaintances senses that there is money in computer cracking - he travels to east Berlin and tries to contact the KGB.
In the early years of the 20th century, Mohandas K. Gandhi, a British-trained lawyer, forsakes all worldly possessions to take up the cause of Indian independence. Faced with armed resistance from the British government, Gandhi adopts a policy of 'passive resistance', endeavouring to win freedom for his people without resorting to bloodshed.