Flight Risk 2025 - Movies (Jan 28th)
Dark Night of the Soul 2024 - Movies (Jan 28th)
Juror #2 2024 - Movies (Jan 28th)
The Fish Thief A Great Lakes Mystery 2025 - Movies (Jan 28th)
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The Tattooist’s Son Journey to Auschwitz 2025 - Movies (Jan 28th)
Sebastian 2024 - Movies (Oct 2nd)
Hounds of War 2024 - Movies (Oct 2nd)
A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
Tom Green I Got a Mule 2025 - Movies (Jan 28th)
Monster on a Plane 2024 - Movies (Jan 28th)
The Fire Inside 2024 - Movies (Jan 28th)
Den of Thieves 2 Pantera 2025 - Movies (Jan 28th)
Babygirl 2024 - Movies (Jan 28th)
Moana 2 2024 - Movies (Jan 27th)
Overkill 2024 - Movies (Jan 27th)
Mother Maker Lover Taker 2024 - Movies (Jan 27th)
Weekend in Taipei 2024 - Movies (Jan 27th)
September 5 2024 - Movies (Jan 26th)
Missing, Presumed Dead - (Jan 28th)
Manhunt - (Jan 28th)
Lets Make a Deal - (Jan 28th)
Deal or No Deal - (Jan 28th)
The Bold and the Beautiful - (Jan 28th)
The Young and the Restless - (Jan 28th)
The Price Is Right - (Jan 28th)
FBI- International - (Jan 28th)
Come Dine with Me - (Jan 28th)
Chris Jansing Reports - (Jan 28th)
The Bidding Room - (Jan 28th)
Katy Tur Reports - (Jan 28th)
Dogs Behaving (Very) Badly - (Jan 28th)
Murder Trial - (Jan 28th)
Inside the Factory - (Jan 28th)
Worlds Most Evil Killers - (Jan 28th)
Piers Morgan Uncensored - (Jan 28th)
Betting on Paradise - (Jan 28th)
Andrea Mitchell Reports - (Jan 28th)
Escape to the Country - (Jan 28th)
I Used to Go Here is an alleged comedy about a hack who admits that “I'm not good enough to write a good book so I wrote a sh*tty book.” Not only has this premise been lifted from a Family Guy episode, but the movie's sense of humor is half-assed at best (but what can you expect from producers Andy Samberg, Jorma Tacone, and Akiva Schaffer?). For example, there is a character named Bradley Cooper. That's it. That's the joke. What scriptwriter/director Kris Rey fails to see is that it's not enough to name a character after celebrity; you have to actually do something, go somewhere with it (I'm reminded of the 'Michael Bolton' character in Office Space). What's the point of naming the character Bradley Cooper if no one is ever even going to acknowledge it? You keep waiting for the other shoe to drop, and when it never does, it becomes nothing more than an annoying distraction. Following the release of her new book, novelist Kate Conklin (Gillian Jacobs) receives an invitation from her former college professor, David Kirkpatrick (Jemaine Clement), to speak at her alma mater, the fictional Illinois University. Her novel is called Seasons Passed, and from its cover and what little we hear of it, it wouldn't be out of place in the Nicholas Sparks canon; that is to say, it's the kind of book that gets its author invited to Oprah, not to a higher learning institution. Kate accepts the invitation, and “rediscovers her college, but now through the eyes of the students living there” (All Movie), in whose lives she “finds herself deeply enmeshed” (IMDb). Actually, what Kate "rediscovers" doesn't go much farther than the house where she herself lived as a student, and where she spends most of her stay; meanwhile, the current tenants drop everything (even intercourse, because what kind of college students would have sex when they could get involved in the depressing problems of a 35-year-old instead? The same kind of college students who are never seen attending any classes) to be at her beck and call. In a nutshell, Kate hijacks this group of supposed college students, spends a night with one of them, and then leaves without learning from or teaching them anything; she even turns down a teaching position at the university, though it's not clear what exactly would qualify her for that position in the first place.
Şehnaz, a young female psychiatrist from Istanbul, starts mandatory duty in a provincial town. Back in the city, she maintains a marriage that looks flawless on the outside. Elmas, a young woman on the verge of breakdown, opens a new path in her.
The film captures the daily duality of three young Palestinian women in Tel Aviv, caught between hometown tradition and big city abandon, and the price they must pay for a lifestyle that seems obvious to many: the freedom to work, party, have sex, and choose.
Recently returned to her home in the Sultanate of Zinder after completing her degree abroad, a young woman suffering from the pain of a lost love finds renewal while awaiting the mystical promise of a new moon.
Nina, Ailén and Fernando are an actress, a producer and a director who want to shoot and independent feature film in Argentina.
A young couple, Kaia and Andrew, are renovating Kaia's secluded family estate. Their lives are violently disrupted upon the unexpected arrival of Kaia's sister, Christine, and her fiancé, Ira.
Estranged from her family, Franny returns home when an accident leaves her brother comatose. Retracing his life as an aspiring musician, she tracks down his favorite musician, James Forester. Against the backdrop of Brooklyn’s music scene, Franny and James develop an unexpected relationship and face the realities of their lives.
'The subject of this film is the conversation between a man and a woman. A couple, maybe lovers, maybe married, it doesn't matter. (...) During this conversation, we do not see but the city of Rome. I wanted to transmit that what Rome provokes in me, the feeling of an intrinsic matter, indissoluble, in difference with Paris, made of small parks and open spaces, crossed by the sky and the wind. Hand in hand with the film, the difficulty of the two lovers assumes a clearer, more explicit form. But as much as, in my opinion, it is impossible to describe and film Rome, the difficulty in the love of a couple can never be totally understood.' - Marguerite Duras, Venice film festival catalogue, 1982.
Sixteen-year-old Billie’s reluctant path to independence is accelerated when her mother reveals plans for gender transition, and their time together becomes limited to Tuesdays. This emotionally charged story of desire, responsibility, and transformation was filmed over the course of a year—once a week, every week, only on Tuesdays.
The Walter Mitty-esque tale of a Brooklyn dental hygienist who escapes into a painting by 17th-century Dutch master Peter de Hooc. The film was nominated for an Oscar for Best Live Action Short Film.
Joe Lieberman is attracted to Shaleen. They begin a professional relationship, which continues even after Joe develops a romantic interest in a woman named Kate, who is married.
The Roth family leads a quiet life in a small village in the German Alps during the early 1930s. After the Nazis come to power, the family is divided and Martin Breitner, a family friend, is caught up in the turmoil.