Southern Charm - (Mar 21st)
Mafia- Most Wanted - (Mar 21st)
Frontline - (Mar 21st)
TNA iMPACT - (Mar 21st)
Doctor Odyssey - (Mar 21st)
Law and Order Toronto- Criminal Intent - (Mar 21st)
Yellowjackets - (Mar 21st)
Power Book III- Raising Kanan - (Mar 21st)
The Trades - (Mar 21st)
The Nature of Things - (Mar 21st)
All In with Chris Hayes - (Mar 21st)
Lets Make a Deal - (Mar 21st)
The Kelly Clarkson Show - (Mar 21st)
The Rachel Maddow Show - (Mar 21st)
Law and Order- Special Victims Unit - (Mar 21st)
The Pitt - (Mar 21st)
Dope Thief - (Mar 21st)
Severance - (Mar 21st)
Surface - (Mar 21st)
Bang Rak Soi 9/1 - (Mar 21st)
Decent watch, might watch again, but can't recommend unless you're running out of things to watch or are an action archaeology fan. This was a weird attempt created a 2005 version of Indiana Jones, or, since this is in Africa, Alex Quartermaine with Matthew McConaughey, of all people. I'm not aware of Matthew McConaughey or Steve Zahn being big action stars, but they surprisingly manage to handle their own, even if it isn't always believeable. Rainn Wilson and Penelope Cruz get in on the action as well....if that helps. The premise is a little interesting: they're looking for a U.S. Confederate boat in Africa. Because it's not interesting enough on it's own, Penelope Cruz is a doctor trying to stop a plague coming from a war-torn country. It all feels a like ridiculously improbable things happening in a world that is far too realistic rather than a world created of fiction that houses an incredible story. The movie is heavy with plot armor, despite any cleverness the characters have. It's fine to watch, but there has to be something else that you can watch that is likely going to be better.
Words like "Literary work" and "Clive Cussler" really shouldn't be in the same sentence. Hey...chill...I love Clive Cussler, I honestly do. In fact I'll put him in the same league as Elmore Leonard and Louis L'Amour and I will put them in the same league as Dumas and Doyle. They all write pulp fiction, adventure, crime, mystery, horror, whatever, they all fall under the title "pulp" and I can admit that I eat them whole, without swallowing... ...and without the need to call them "Literary" in an effort to save face. I have the academic degrees somewhere in a box, the intellectual prowess, and a library with enough classics and heady works of history and philosophy to be able to openly display writers like Chris Claremont, Marv Wolfman, and Timothy Zane to not have to call his work "Literature." I will however call it "Adventure" I will call it "Fun" and what should be most important to any writer or film maker..."Entertaining." It doesn't have to follow the book. Jackie Brown was a far cry from Rum punch and they were both a lot of fun to watch and read. So Sahara isn't like the novel. It is an Action-Adventure-Comedy. That means it is everything that pulp should be, it is everything that movies should be... In fact it is the kind of film that the critics would have loved in the Golden Age of Hollywood.
A strange old woman allows a teenage runaway and a young orphan to stay in an abandoned house that overlooks the sea. However, when a menacing entity threatens their new home, they must band together and face their fears to save it.
Catherine, a novelist with an insatiable sexual appetite, becomes a prime suspect when her boyfriend is brutally murdered - a crime she had described in her latest story.
When Gelsomina, a naïve young woman, is purchased from her impoverished mother by brutish circus strongman Zampanò to be his wife and partner, she loyally endures her husband's coldness and abuse as they travel the Italian countryside performing together. Soon Zampanò must deal with his jealousy and conflicted feelings about Gelsomina when she finds a kindred spirit in Il Matto, the carefree circus fool, and contemplates leaving Zampanò.
In the 1930s, Count Almásy is a Hungarian map maker employed by the Royal Geographical Society to chart the vast expanses of the Sahara Desert along with several other prominent explorers. As World War II unfolds, Almásy enters into a world of love, betrayal, and politics.
Siblings Lucy, Edmund, Susan and Peter step through a magical wardrobe and find the land of Narnia. There, they discover a charming, once peaceful kingdom that has been plunged into eternal winter by the evil White Witch, Jadis. Aided by the wise and magnificent lion, Aslan, the children lead Narnia into a spectacular, climactic battle to be free of the Witch's glacial powers forever.
Guido Anselmi, a film director, finds himself creatively barren at the peak of his career. Urged by his doctors to rest, Anselmi heads for a luxurious resort, but a sorry group gathers—his producer, staff, actors, wife, mistress, and relatives—each one begging him to get on with the show. In retreat from their dependency, he fantasizes about past women and dreams of his childhood.
Princess Leia is captured and held hostage by the evil Imperial forces in their effort to take over the galactic Empire. Venturesome Luke Skywalker and dashing captain Han Solo team together with the loveable robot duo R2-D2 and C-3PO to rescue the beautiful princess and restore peace and justice in the Empire.
A man with a low IQ has accomplished great things in his life and been present during significant historic events—in each case, far exceeding what anyone imagined he could do. But despite all he has achieved, his one true love eludes him.
Selma, a Czech immigrant on the verge of blindness, struggles to make ends meet for herself and her son, who has inherited the same genetic disorder and will suffer the same fate without an expensive operation. When life gets too difficult, Selma learns to cope through her love of musicals, escaping life's troubles – even if just for a moment – by dreaming up little numbers to the rhythmic beats of her surroundings.
In 2257, a taxi driver is unintentionally given the task of saving a young girl who is part of the key that will ensure the survival of humanity.