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***A famous director loses his inspiration and seeks aid from the various women in his life*** Released in 2009, “Nine” is a drama/musical about a famous Italian director in 1965 (Daniel Day-Lewis) who loses his inspiration, but its urgent he gets it back because his ninth movie is set to start shooting in ten days and he doesn’t even have a script. He turns to the several women in his life for succor: his wife (Marion Cotillard), his mistress (Penélope Cruz), his costume designer (Judi Dench), his star actress (Nicole Kidman), his mother (Sophia Loren), a fashion journalist (Kate Hudson) and a prostitute from his boyhood (Fergie). This is an adaptation of the 1982 Broadway musical, also dubbed “Nine,” which itself was based on Federico Fellini's semi-autobiographical 1963 film “8½.” It’s very similar to director Rob Marshall’s “Chicago” (2002), but with a different story, cast and location (Rome and points nearby). During the first half I wasn’t so sure about the story, but I eventually found myself absorbed into the life of the tormented director and his mid-life crisis. His unfaithfulness to his beautiful wife, Luisa (Cotillard), is off-putting of course, but maybe we should have mercy for a man who has scores of gorgeous women offering themselves to him practically every day. It helps that he WANTS to be free from his adulteries and be true to Luisa. Yet I have a hard time picturing Guido (Day-Lewis) seeking the amorous attentions of Carla (Cruz) above Luisa. Carla is decent, as far as all-around physical beauty goes, but Luisa has better curves. Both of the characters’ have imaginative dance sequences, but Luisa comes out on top even though her routine is less tantalizing. Day-Lewis is fascinating as the guilt-stricken director who hasn’t let his fame go to his head. When he asks a cleric for advice about God and his troubles, the vicar responds: “Imagination is God’s garden, don’t let the devil play in it.” I generally don’t favor musicals where the characters suddenly jump into song & dance while walking at the park or eating dinner. My wife & I sometimes poke fun of these kinds of musicals by mimicking them while doing mundane activities. For me, musicals only work, generally speaking, when the singing/dancing sequences are legitimate, like a performance at a nightclub or one's imagination, both of which were used in "Chicago." Of course it’s more challenging and takes more creativity to incorporate song & dance routines in this manner and keep the movie seamless & realistic. “Nine” does this. The film runs 1 hour, 58 minutes and was shot in Italy and England. GRADE: B
A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan over thirty years later, where he once again must confront the ghosts and regrets of his old life.
On one random day in the San Fernando Valley, a dying father, a young wife, a male caretaker, a famous lost son, a police officer in love, a boy genius, an ex-boy genius, a game show host and an estranged daughter will each become part of a dazzling multiplicity of plots, but one story.
Paris, 1960s. Momo, a resolute and independent Jewish teenager who lives with his father, a sullen and depressed man, in a working-class neighborhood, develops a close friendship with Monsieur Ibrahim, an elderly Muslim who owns a small grocery store.
When car dealer Charlie Babbitt learns that his estranged father has died, he returns home to Cincinnati, where he discovers that he has a savant older brother named Raymond and that his father's $3 million fortune is being left to the mental institution in which Raymond lives. Motivated by his father's money, Charlie checks Raymond out of the facility in order to return with him to Los Angeles. The brothers' cross-country trip ends up changing both their lives.
A biopic of writer Truman Capote and his assignment for The New Yorker to write the non-fiction book "In Cold Blood".
The story of an old Jewish widow named Daisy Werthan and her relationship with her black chauffeur, Hoke. From an initial mere work relationship grew in 25 years a strong friendship between the two very different characters, in a time when those types of relationships were shunned.
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.
The true story of how businessman Oskar Schindler saved over a thousand Jewish lives from the Nazis while they worked as slaves in his factory during World War II.
Episodic journey of journalist Marcello who struggles to find his place in the world, torn between the allure of Rome's elite social scene and the stifling domesticity offered by his girlfriend, all the while searching for a way to become a serious writer.
Childhood friends Matías and Jerónimo reach adolescence and experience sexual attraction to each other, before being separated by circumstances. Later, as young adults, they meet again, and the film follows themes of complicated relationships and sexual tensions, as well as issues of homophobia.
First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.