War of the Worlds Extinction 2024 - Movies (Mar 28th)
Sex-Positive 2024 - Movies (Mar 28th)
The Farmers Daughter 2025 - Movies (Mar 28th)
Dangerous Lies Unmasking Belle Gibson 2025 - Movies (Mar 28th)
Flight Risk 2025 - Movies (Mar 28th)
Alexander and the Terrible Horrible No Good Very Bad Road Trip 2025 - Movies (Mar 28th)
The Life List 2025 - Movies (Mar 28th)
Renner 2025 - Movies (Mar 28th)
The Rule of Jenny Pen 2024 - Movies (Mar 28th)
Bring Them Down 2024 - Movies (Mar 27th)
Love Hurts 2025 - Movies (Mar 27th)
Holland 2025 - Movies (Mar 27th)
The House Was Not Hungry Then 2025 - Movies (Mar 27th)
One Million Babes BC 2024 - Movies (Mar 27th)
Through the Door 2024 - Movies (Mar 27th)
Snow White 2025 - Movies (Mar 27th)
England’s Lions The New Generation 2025 - Movies (Mar 26th)
The Last Keeper 2024 - Movies (Mar 26th)
The Brutalist 2024 - Movies (Mar 25th)
Mufasa The Lion King 2024 - Movies (Mar 25th)
The Monkey 2025 - Movies (Mar 25th)
The One Show - (Mar 29th)
On Patrol- Live - (Mar 29th)
The Last Word with Lawrence ODonnell - (Mar 29th)
The Rachel Maddow Show - (Mar 29th)
The Patrick Star Show - (Mar 29th)
Helsinki Crimes - (Mar 29th)
One Killer Question - (Mar 29th)
The Bold and the Beautiful - (Mar 29th)
Cops - (Mar 29th)
The Price Is Right - (Mar 29th)
The Young and the Restless - (Mar 29th)
Lets Make a Deal - (Mar 29th)
The Kelly Clarkson Show - (Mar 29th)
All In with Chris Hayes - (Mar 29th)
Diners, Drive-Ins and Dives - (Mar 29th)
Gold Rush - (Mar 29th)
Horrible Histories - (Mar 29th)
WWE SmackDown - (Mar 29th)
The Beat with Ari Melber - (Mar 28th)
Gogglebox - (Mar 28th)
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.
When his parents are betrayed and conspired against, they’re left with nothing. A young Tony must do away with his entitlement, then use both his parents’ teachings and experiences to regain their fortune and restore his position as the prince of Detroit.
Difficult times and persecution in Mexico during the Cristero Rebellion. The life of young Jose Sanchez del Rio, who became a martyr and a saint.
A Victorian surgeon rescues a heavily disfigured man being mistreated by his "owner" as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London.
Justin Quayle is a low-level British diplomat who has always gone about his work very quietly, not causing any problems. But after his radical wife Tessa is killed he becomes determined to find out why, thrusting himself into the middle of a very dangerous conspiracy.
Based on Mariane Pearl's account of the terrifying and unforgettable story of her husband, Wall Street Journal reporter Danny Pearl's life and death.
Augusto and Michaela Odone are dealt a cruel blow by fate when their five-year-old son Lorenzo is diagnosed with a rare and incurable disease. But the Odones' persistence and faith leads to an unorthodox cure which saves their boy and re-writes medical history.
While doing a friend a favour and searching for a runaway teenager, a police detective stumbles upon a bizarre band of criminals about to pull off a bank robbery. The screenplay by Christopher Cannan and Steve Barancik is based on the short story "The House in Turk Street" by Dashiell Hammett.
After proving himself on the field of battle in the French and Indian War, Benjamin Martin wants nothing more to do with such things, preferring the simple life of a farmer. But when his son Gabriel enlists in the army to defend their new nation, America, against the British, Benjamin reluctantly returns to his old life to protect his son.
Successful writer/director Bernard Rougerie is at a creative dead end and decides to isolate himself from his wife in order to complete the script for his next film. Bernard moves into an apartment building whose tenants are in the midst of a revolt against their abusive landlord. Reluctant at first, he joins their cause and then becomes involved in an affair with young, unemployed resident Anne.
In 2013, Vanessa Springora recounts how she found herself under the influence of a famous writer. In 1986, she was 13; him, almost 50. The victim of a triple predation: sexual, literary, and psychic, there's more beyond her individual story. She questions the excesses of an era, and the complacency of an environment blinded by talent and celebrity.
In 1943, as Hitler continues to wage war across Europe, a group of college students mount an underground resistance movement in Munich. Dedicated expressly to the downfall of the monolithic Third Reich war machine, they call themselves the White Rose. One of its few female members, Sophie Scholl is captured during a dangerous mission to distribute pamphlets on campus with her brother Hans. Unwavering in her convictions and loyalty to the White Rose, her cross-examination by the Gestapo quickly escalates into a searing test of wills as Scholl delivers a passionate call to freedom and personal responsibility.