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The Last Word with Lawrence ODonnell - (Mar 28th)
TNA iMPACT - (Mar 28th)
Doctor Odyssey - (Mar 28th)
Bang Rak Soi 9/1 - (Mar 28th)
Yellowjackets - (Mar 28th)
Power Book III- Raising Kanan - (Mar 28th)
The Trades - (Mar 28th)
The Rachel Maddow Show - (Mar 28th)
Gardening Australia - (Mar 28th)
Tonight - (Mar 28th)
All In with Chris Hayes - (Mar 28th)
Deadline- White House - (Mar 28th)
Fight for Glory- 2024 World Series - (Mar 28th)
The Beat with Ari Melber - (Mar 28th)
Dope Thief - (Mar 28th)
The Pitt - (Mar 28th)
Booked- First Day In - (Mar 27th)
Four in a Bed - (Mar 28th)
Greys Anatomy - (Mar 28th)
Emergency Room 24 Hours - (Mar 27th)
Good, if a little light on actual laughs. Hugh Grant is the best thing about 'Four Weddings and a Funeral', he gives an amusing performance. The plot is obvious and speaks for itself, it does lead to a few interesting shenanigans. Some of the dialogue is iffy, as is some of the editing though. None of the cast behind Grant stood out to me, with the exception of Rowan Atkinson; but that's only down to how well known he is in general, as here he is underused. I found Andie MacDowell's performance very wooden. I appreciate them not going the obvious route with Kristin Scott Thomas' character, even if it makes her Fiona redundant throughout. Just about serviceable, worth watching if only once.
Whilst this largely centres around the persona of "Charles" (Hugh Grant) it's really more the compendium of characters that makes this comedy work well. He is late for the first of the weddings, but that doesn't really matter except it's where he first espies "Carrie" (Andi MacDowell). A one night stand ensues and both seem to like the other, but nothing comes of it and we proceed to the next wedding, then the next. It's this third one that turns out to be her's - to a laird a little older than she. "Charles" is crestfallen but what to do? Might it be best to settle for someone else - even is she's not the one? Richard Curtis has written a gem of a comedy here, allowing a slew of characterful personalities to slot into the life of "Charles". The underused, brightly waist-coated, Simon Callow is probably my favourite. He and boyfriend "Matthew" (John Hannah) have an habit of exposing the more preposterous and yukkie sides of the wedding; the twee folk singers and the guests who overdo the free bar or think they are god's gift. Indeed, as much of this takes a swing at the whole symbolism and ceremony of marriage as it plays on the foibles and flaws of "Charles" and his friends. Rowan Atkinson's bumbling vicar "Gerald" has the pews in hysterics and Charlotte Coleman is great as the maybe a bit too frank "Scarlett". It pieces together a bit to serendipitously and I maybe don't need to hear the Wet Wet Wet song again any time soon, but it showcases a range British acting talent in an amiable and enjoyable fashion for two hours.
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.
Maria marries a young soldier in the last days of World War II, only for him to go missing in the war. She must rely on her beauty and ambition to navigate the difficult post-war years alone.
Photographer Robert Kincaid wanders into the life of housewife Francesca Johnson for four days in the 1960s.
Gus Van Sant tells the story of a young African American man named Jamal who confronts his talents while living on the streets of the Bronx. He accidentally runs into an old writer named Forrester who discovers his passion for writing. With help from his new mentor Jamal receives a scholarship to a private school.
Shaun lives a supremely uneventful life, which revolves around his girlfriend, his mother, and, above all, his local pub. This gentle routine is threatened when the dead return to life and make strenuous attempts to snack on ordinary Londoners.
In this riot of frantic disguises and mistaken identities, Victor Pivert, a blustering, bigoted French factory owner, finds himself taken hostage by Slimane, an Arab rebel leader. The two dress up as rabbis as they try to elude not only assasins from Slimane's country, but also the police, who think Pivert is a murderer. Pivert ends up posing as Rabbi Jacob, a beloved figure who's returned to France for his first visit after 30 years in the United States. Adding to the confusion are Pivert's dentist-wife, who thinks her husband is leaving her for another woman, their daughter, who's about to get married, and a Parisian neighborhood filled with people eager to celebrate the return of Rabbi Jacob.
King Arthur, accompanied by his squire, recruits his Knights of the Round Table, including Sir Bedevere the Wise, Sir Lancelot the Brave, Sir Robin the Not-Quite-So-Brave-As-Sir-Lancelot and Sir Galahad the Pure. On the way, Arthur battles the Black Knight who, despite having had all his limbs chopped off, insists he can still fight. They reach Camelot, but Arthur decides not to enter, as "it is a silly place".
A weekend at a marquis’ country château lays bare some ugly truths about a group of haut bourgeois acquaintances.
Monsieur Hulot, Jacques Tati’s endearing clown, takes a holiday at a seaside resort, where his presence provokes one catastrophe after another. Tati’s masterpiece of gentle slapstick is a series of effortlessly well-choreographed sight gags involving dogs, boats, and firecrackers; it was the first entry in the Hulot series and the film that launched its maker to international stardom.
After a fictitious marriage with a Russian emigrant, Cellisten Louka, a Czech man, must suddenly take responsibility for her son. However, it’s not long before the communication barrier is broken between the two new family members.
After five (or six) years of vanilla-wedded bliss, ordinary suburbanites John and Jane Smith are stuck in a huge rut. Unbeknownst to each other, they are both coolly lethal, highly-paid assassins working for rival organisations. When they discover they're each other's next target, their secret lives collide in a spicy, explosive mix of wicked comedy, pent-up passion, nonstop action and high-tech weaponry.