Love in Focus 2023 - Movies (Jul 27th)
Townhouse Confidential 2023 - Movies (Jul 27th)
Mr. Right 2023 - Movies (Jul 27th)
Alien Apocalypse 2023 - Movies (Jul 27th)
Tuesday 2023 - Movies (Jul 26th)
Sick Girl 2023 - Movies (Jul 26th)
The Garfield Movie 2024 - Movies (Jul 26th)
The Omicron Killer 2024 - Movies (Jul 26th)
Inhuman Kiss The Last Breath 2024 - Movies (Jul 26th)
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What Lies Under the Tree 2023 - Movies (Jul 26th)
To Kill a Stepfather 2023 - Movies (Jul 26th)
The Girl in the Pool 2024 - Movies (Jul 26th)
Non Negotiable 2024 - Movies (Jul 26th)
House of Gaa 2024 - Movies (Jul 26th)
Deadpool and Wolverine 2024 - Movies (Jul 25th)
The Canterville Ghost 2023 - Movies (Jul 25th)
Aliens Abducted My Parents and Now I Feel Kinda Left Out 2023 - Movies (Jul 25th)
Arctic Armageddon 2023 - Movies (Jul 25th)
Assault on Hill 400 2023 - Movies (Jul 25th)
Transmorphers - Mech Beasts 2023 - Movies (Jul 25th)
All In with Chris Hayes - (Jul 27th)
The Kelly Clarkson Show - (Jul 27th)
Love Island - (Jul 27th)
Terror at 30000 Feet - (Jul 27th)
The Stand Up Sketch Show - (Jul 27th)
The Bold and the Beautiful - (Jul 27th)
The Young and the Restless - (Jul 27th)
The ReidOut - (Jul 27th)
Champions- Full Gallop - (Jul 27th)
Motorway- Hell On The Highway - (Jul 27th)
GRAND SUMO Highlights - (Jul 27th)
The Beat with Ari Melber - (Jul 27th)
Deadline- White House - (Jul 26th)
8 Out of 10 Cats Does Countdown - (Jul 26th)
Gutfeld! - (Jul 26th)
Jesse Watters Primetime - (Jul 26th)
Outnumbered - (Jul 26th)
Special Report with Bret Baier - (Jul 26th)
The Ingraham Angle - (Jul 26th)
Hannity - (Jul 26th)
Bought this on DVD for a £2 on a second-hand market stall a couple of years ago, then upgraded it to blu-ray a few months ago when I saw it on sale in HMV for a bargaintastic three quid. Yet I'd never got around to actually watching it. I'd bought it (twice) off the back of it being this enormous cult classic weighed down with critical praise (Wiki tells me that the readers of Total Film magazine voted it the third greatest comedy film of all time in 2000 and the 13th greatest British film of all time in 2004, it was ranked 38th greatest film of all time by Channel 4 in 2001 in their 100 Greatest Films poll, an Observer poll of 60 eminent British filmmakers and critics voted it 2nd best British film of the last 25 years in 2009, it ranked 118 in Empire magazine's list of The 500 Greatest Films of All Time in 2008). Anyways: This film has so far mugged me for a fiver. 2/10, and I'm being generous. What a pile of rubbish! "Third greatest comedy"?!? I would never EVER in a thousand years pegged it as a "comedy", under any measurable criteria. It wasn't just trying-yet-failing to be funny, I wasn't even aware it was trying to be funny. Literally, the ONLY funny thing about the movie was how anyone on Earth could have thought this was a good film. Basically: It's the late sixties, and two posh, "luvvy" actors (the titular "Withnail" and "I", played capably enough by two posh, "luvvy" actors: Richard E. Grant and Paul McGann, respectively), living in absolute filth like a couple of retards - I mean, they don't seem to have any understanding of how to operate, say, the kitchen sink - decide that they need to go for a break in the countryside, at a cottage owned by Withnail's gay uncle. They go, it pisses down ceaselessy, they fail to get on with the natives simply because they're such unlikeable morons, then the gay uncle shows up and spends the rest of the movie creepily and ceaselessly trying to gay off with Paul McGann's unnamed "I" character. They go home, they tolerate a drug-dealer and his friend who have broken into and taken up residence in their house, "I" gets an acting job offer and takes off. The end. Utter rubbish. In fact, I'm making it sound better than it is. Reading it back, it sounds vaguely like an admittedly particularly poor episode of Bottom played dramatically rather than for laughs, and although there are shades of the Rick/Rich character that Rik Mayall has played his entire career in Richard E. Grant's performance, Withnail & I is NOT even as good as a poor Bottom episode. And I didn't like Bottom either, especially.
A beautiful, dreary and funny film. At times subtle and others direct. Deeply contemplative with majestic scenery and an atmosphere of grey. Sardonic humour with believable, excellently acted characters and scenarios. It's the greatest film about friendship and only gets better with each viewing. The direction is purely cinematic and shows rather than tells. A Masterpiece.
**It's a good film, but it's very damaged by the abuse of alcohol, drugs and tobacco, and by the weakness of the script, in terms of narrative.** I expected a lot more from this movie, I have to confess. It is considered by many to be one of the best British comic films, and there is no doubt that the dialogues and situations were extremely funny, and it is not difficult to laugh at the absurd situations and conversations that are observed here. But it's also no lie that the film is far from being a work of perfection. The script is based on the coexistence between two characters, Withnail and another boy, whose name is never mentioned, and who supposedly tells the story in the first person. They are two aspiring actors, absolutely failed, penniless and sharing expenses and an apartment in Camden during the late 60s, that is, in the midst of the cultural revolution and the golden years of drug use. Tired of the rot in which they live, they decide to go to the country house of a Withnail's uncle, not knowing that the place is inhospitable for the city dwellers. The film has its moments, and this is largely due to a well written set of dialogues and absurd situations. Particularly memorable is the way in which Withnail practically deifies alcohol, not being able to remain sober for a minute, or the way in which he decides to go fishing with a shotgun, or even the journey of the two friends, in a beautiful old Jaguar that is truly a shame to see so mistreated. Unfortunately, the script and story don't go much further than this, and there isn't much material to support the film. On a narrative level, it is decidedly a very weak film. However, I was able to easily deal with it. The film will only be as good as the audience is willing to “let it flow” without thinking too much about it, simply taking advantage of the many comic opportunities created. More than once, I felt that the film would work perfectly as a stage play, even more so than in the cinema. Very difficult to digest, however, is the constant apology for alcohol and drugs. I am sure that this was not the intention of the producers, but the fact that the characters are under the use of these substances for so long can really bother current audiences, who view the abuse of alcohol, tobacco and drugs in cinema less sympathetically. I tend to be quite open about this, but several times, in several scenes, I felt that the film was treading on dangerous ground in this regard. The film has a reduced cast and only three actors deserve a mention. Richard Grant and Paul McGann made their cinematic debut with this film… and what a debut! Grant, perhaps without ever having imagined it, had the role of his career in this film, as no other work of his was as popular and as remarkable as this one. McGann was also very good, although he is not able to compete much with Grant, who has a much more intense and complex character. The late and late Richard Griffiths also appears here and plays a small role, but one that is very well done. The film is not brilliant on a technical level, but there are some points I would like to highlight, the cinematography being the most relevant of them all. I don't know how this was achieved, but it is very evident that the film was able to emulate the look and characteristics of a film made in the 60s. I believe that the secret was in the light, in choosing the right film and the most suitable camera, as well as a good set of costumes and props. I especially enjoyed seeing Withnail's costume. In his clothes, he looks like a seedy, broke, alcoholic Mr. Darcy. There are also some visually notable scenes, like the roadside scenes, or the scene where the two friends leave Monty's house, and we see the stately demolition of an old Victorian house behind them.
Just what exactly was it lurking in the sink? Probably best not to know as we meet the dipso "Withnail" (Richard E. Grant) and his marginally more respectable pal who'd be the "Marwood/I" (Paul McGann). Two "resting" actors who haven't tuppence to rub together. A visit to his gay uncle "Monty" (Richard Grffiths) provides them with some fine wine and with the key to his remote country cottage where they duly adjourn for an holiday. They don't exactly fit in, indeed having no money, firewood, fuel or much of a clue just antagonises the locals. The bracing country air - and the relentless rain - just isn't for them, and their situation only gets worse when "Uncle" comes a calling and takes a bit of a shine to the frankly rather terrified "Marwood"! What happens next? The first hour of this is great fun, with Grant and McGann working well together delivering a pithy and ripe script that is peppered with quick-wittedness and dry humour. I'm not sure just how much acting Griffiths was actually doing here, but he steals the scene every time - especially as he closes in on his would-be, hapless, prey in the middle of a thunderstorm! Plaudits also to their mate "Danny" (Ralph Brown) - a sort of urban sophisticate who's permanently stoned! The cast is tightly knit and though it does lose steam towards the end, I reckon it's still one of the best examples of comedy reflecting a side of 1980s Britain that steers clear of the obvious Mrs. Thatcher-bashing, but still offers quite a keen assessment of the triumph of expectation over hope! It's worn well, and is still enjoyable!
Ray, a construction worker trapped in an unhappy marriage, pursues an affair with his neighbor, Carla. Carla's husband, Greg, is a mobster who keeps large sums of drug money in their home. With this in mind, Carla comes up with a plan: She and Ray will steal Greg's money, burn down her house, convince Greg the money was lost in the fire and then run away together. Carla's scheme, however, doesn't go off as planned.
A retail billionaire's 60th birthday party is celebrated in an exclusive hotel on the Greek island of Mykonos.
On a visit to meet his girlfriend’s parents in a remote village in Tuscany, Primo is forced to prove his masculinity on a wild boar hunt.
Province of Buenos Aires, Argentina, 2101. The world has been ravaged by a biological warfare. A man wakes up in the desert, unable to remember anything of his previous life.
A story about five friends Papa Chui is the eldest among the group and has a boy toy whom he supports financially, more than what he needed. Gerorgette a transsexual who wants to have a child so he can build his own family. Baldo a closet body guard who also has a closet boyfriend. CC the possessive fashion designer who wants to walk the aisle and is friends with Shirley, an event specialist and trying hard singer who has problems with her boyfriend.
A collection of gay short films. The 7 short films are: A Man's Voice [Une voix d'homme] (2002); Back Room (1999); Bright Spell [L'embellie] (2000); Campfire [Kampvuur] (2000); Golden Whore [Puta de oros] (2000); Knock at the Door (2000); Three Wishes [Drei Wünsche] (2000).
A collection of gay short films. The 9 short films are: An Early Frost [Gelée précoce] (1999); Casualty (1999); Coming Out [Papa, faut que j'te parle...] (2000); Doors Cut Down [En malas compañías] (2000); Final Exams [Les résultats du bac] (2001); In and Out [L'un dans l'autre] (1999); Odd Sock (2000); Sloth [Likegyldighet] (2000); The Virgins [Les puceaux] (1997).
Middle-class girl gets involved with a jealous drug dealer, who wants to kill all of her previous boyfriends.
18-year-old Jesús lives with his stern, somewhat unaffectionate father in Santiago, Chile. When not doing drugs, having casual sex or simply slouching in front of the TV, Jesús and his friends perform in a K-pop boyband. But his routine is thrown into chaos one evening when he and his drunken posse viciously assault a young gay man and leave him for dead. It’s an act that propels Jesús into a profound moral crisis which have severe consequences.
A Taiwanese drug mule has his foolproof smuggling method thrown out of whack when he catches a ride with the wrong cab driver.