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Alex Wagner Tonight - (Apr 26th)
Summer House - (Apr 26th)
The Last Word with Lawrence ODonnell - (Apr 26th)
Young Sheldon - (Apr 25th)
Ghosts - (Apr 26th)
A Gentleman in Moscow - (Apr 26th)
BMF - (Apr 26th)
Royal Crackers - (Apr 26th)
Ask This Old House - (Apr 26th)
Next Level Chef - (Apr 26th)
This Old House - (Apr 26th)
Caught - (Apr 26th)
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Franklin - (Apr 26th)
The Beat with Ari Melber - (Apr 26th)
**Despite Swinton's powerful performance, Luca Guadagnino proved it a mistake to put narrative at the service of technique.** What is the origin and focal point of cinematographic art? It's a question that seems rhetorical, but which, for me, is fundamental to understanding the problems of this film. Why? Because for me, the essential point of cinema, what is most important, is to tell a story. This means that aesthetics, style and art must serve the narrative, not the other way around. And what this film does is, precisely, use a narrative for an exercise in aesthetics and style. The script had everything to work, with a dramatic story that, despite not bringing anything new (there are lots of movies about adulteries, mature women dissatisfied with their lives, rich families that work badly, etc.), at least had everything that it needed to entertain us. Basically, it's the story of a Russian woman who married an Italian textile tycoon and had three children. She is not necessarily unhappy, but lives a monotonous existence, at the whim of social and family conveniences, so she ends up finding excitement and pleasure in a torrid affair with a friend of one of her sons. And of course, when all this comes to light, the family's life is shaken. The film has its value for the narrative and the script, even considering that there is a lot of cliché and predictable melodrama. But director Luca Guadagnino doesn't seem to give relevance to the story he wants to tell. He is not interested in entertaining us with a film that blends art and entertainment harmoniously. Guadagnino just wants to show off and show everything he has learned about cinema, all the technique, the mastery of cinematography, the use of the soundtrack, sound and image. This film is simply a vain exercise in technique and style. Tilda Swinton cleverly took the opportunity to, in open collaboration with the director, build for herself a character tailored to what she needs and knows how to do. It was a work that took several years, but it leveraged the project to its happy conclusion. And we have to admit that Swinton is wonderful and gives us a deep and powerful interpretation of the main character. Unfortunately, she is the only actress who stands out in this film on a positive note. The rest of the cast, mostly Italian, is quite average, with empty and disinterested interpretations, and there are really annoying and tiresome characters. As I said above, it is in the technical aspects that Guadagnino really bets, and tries his best to stand out, and we have to admit that he knows how to use cinematography and film work very well. The film makes good use of the filming locations used in Milan and elsewhere in Italy, and manages to convey the pleasure of eating a good meal. In fact, it even conveys the pleasure of gluttony more easily than the pleasure of sex, because all sex scenes, however intense, are manifestly artificial and exaggerated. The feeling that everything is over the top becomes even more latent due to a very slow pace, which makes us numb, and due to the intrusion of an irritating histrionic soundtrack.
An endearing romantic drama that tells of a very curious affair between Clara, an older woman and Jason, a young unhappily married boy (Aga Muhlach). In between them are her husband, Jason, and Leda, his wife. All told, the movie proves once again that love does not only happen in the most unexpected times and places. It also makes people do the strangest things.
Arman is torn between two women, a woman who came from a decent family or the one who kept it a secret of being a first-class prostitute.
Charlie Gedelius has spent the last years abroad as a golf trainer. In Copenhagen, Denmark, he meets young Lena, who happens to be his brother-in-law's mistress. He goes back to Sweden to meet his sister Astrid. Her son Staffan has borrowed money from a money-lender to pay for an abortion for a girl he has met.
Two teen track stars discover first love as they train for the biggest relay race of their young lives.
A rich American couple, a family of Dutch criminals, a French gay couple, a working class family from Germany and an illegal Moroccan youth and his kid brother, are all in Amsterdam, each with their own story. Different reasons make their paths intertwine, leading to a dramatic climax that changes their lives for ever.
Gowtham has a troubled childhood once his mother goes astray. He develops a dislike towards women in general and would often been seen in a pensive mood. Things change for the better when he bonds with Sri and Baby at school. They make a pact that they would never marry in life. When circumstances force Sri and Baby to deviate from this, the bonding of the trio breaks and Gowtham comes to understanding how his perceived misconceptions about life is so untrue.
After his lover rejects him, Maurice, a young man in early 20th-century England, trapped by the oppressiveness of Edwardian society, tries to come to terms with and accept his sexuality.
Hubert, a brash 17-year-old, is confused and torn by a love-hate relationship with his mother that consumes him more and more each day. After distressing ordeals and tragic episodes, Hubert will find his mother on the banks of Saint Lawrence river, where he grew up, and where a murder will be committed: the murder of childhood.
England, World War II. Quint Munroe, RAF officer and new leader of a Mosquito squadron, is tasked with destroying a secret Nazi base in France while trying to overcome the disappearance of a brother-in-arms.
Death in Love is a psychosexual-thriller about a love affair between a Jewish woman and a doctor overseeing human experimentation at a Nazi German concentration camp, and the impact this has on her sons' lives in the 1990s.
Basque Country, Spain, 1985. Four teenage friends must face life and death, social upheaval and political violence as they try to enjoy their summer vacation.