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The Last Word with Lawrence ODonnell - (Jun 26th)
Dimension 20 - (Jun 26th)
Best of The Beat with Ari Melber - (Jun 26th)
The Price Is Right - (Jun 26th)
Casualty 24/7- Every Second Counts - (Jun 25th)
Long Lost Family- Born Without a Trace - (Jun 25th)
Deadline- White House - (Jun 25th)
The Bold and the Beautiful - (Jun 25th)
Britain’s Most Expensive Houses - (Jun 25th)
The Young and the Restless - (Jun 25th)
The Tucker Carlson Show - (Jun 25th)
Piers Morgan Uncensored - (Jun 25th)
Bargain-Loving Brits in the Sun - (Jun 25th)
Love Island - (Jun 25th)
Claire Hoopers House of Games - (Jun 25th)
Location, Location, Location - (Jun 25th)
Shed and Buried - (Jun 25th)
Bridge of Lies - (Jun 25th)
Lalaloopsy - (Jun 25th)
Gruen - (Jun 25th)
Nope, this is another film about which I didn't get the memo. Though Margit Carstensen performs addictively in the title role, the rest of this quickly descends into a rather tedious introspection of a sexually fluid woman who treats her secretary "Marlene" (Irm Hermann) appallingly at the best of times and even worse when attractive, aspiring and ambitious model "Karin" (Hanna Schygulla) arrives seeking a career - and maybe more. "Petra" falls for her: hook line and sinker, but her new paramour doesn't quite reciprocate. The torrid nature of their frequently gin-soaked on/off relationship and conversation now unfold in the static environment of her apartment with a great deal of verbiage and very little actual procress. It's not that it's slow burn - I can handle them. It's that she is dull. She exudes a sense of entitlement and arrogance that I just couldn't engage with. Of course that's testament to the acting to an extent, but I also think there's something of the emperor's new clothes to it all. Who cares about her or her life? Everything around her is disposable - except "Karin", whose repeated attempts to shock and hurt her lover might have worked in their bed, but they didn't work on me as I gradually wanted to brick them all in with a lifelong supply of Bombay Sapphire and let them grind each other to a powder. The film looks great, the costumier and set designer have conjured up a thing of beauty and style, but that can't really help this rather empty and depressing appraisal of people who, "Marlene" and possibly daughter "Gabriele" (Eva Mattes) notwithstanding, entirely deserved each other. I suspect this might have worked better with the intimacy of a stage - indeed much of Fassbinder's direction appears much better suited for that perfectly framed medium, but as a film it left me cold.
In an Italian seaside town, young Titta gets into trouble with his friends and watches various local eccentrics as they engage in often absurd behavior. Frequently clashing with his stern father and defended by his doting mother, Titta witnesses the actions of a wide range of characters, from his extended family to Fascist loyalists to sensual women, with certain moments shifting into fantastical scenarios.
Pianist David Helfgott, driven by his father and teachers, has a breakdown. Years later he returns to the piano, to popular if not critical acclaim.
In 1931, three Aboriginal girls escape after being plucked from their homes to be trained as domestic staff, and set off on a trek across the Outback.
After his mistress runs over a black teen, a Wall Street hotshot sees his life unravel in the spotlight; A down-and-out reporter breaks the story and opportunists clamber to use it to their advantage.
A sensitive girl is sent to an all-girls boarding school and develops a romantic attachment to one of her teachers.
In the Yorkshire countryside, working-class tomboy Mona meets the exotic, pampered Tamsin. To seal their friendship, Mona introduces Tamsin to her born-again Christian brother and helps her spy on her adulterous father. Bound together by their secrets, the two girls see their friendship deepen and enter into dangerous waters.
A man (Richard Roxburgh) the Australian government blames for 1990s political woes blames his mother (Judy Davis), a communist Stalin seduced in 1951.
While visiting his hometown during Christmas, a man comes face-to-face with his old high school crush whom he was best friends with – a woman whose rejection of him turned him into a ferocious womanizer.
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound, finds the personalities of his characters to have a timeless universality.
Leo is a successful author who is experiencing a tough writer's block. Feeling the pressure to finish the new installment of his popular series of books, Leo swaps homes with his best friend, Ellie, for a period of time. During his stay at Ellie's place, Leo ends up meeting Matt, who helps him get out of his own way when it comes to writing something new and inspiring. Leo and Matt's newfound friendships turn into something far more meaningful, just as Ellie is experiencing a similar situation with Sam.