DSLR 2025 - Movies (Mar 18th)
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American Terror Tales 3 2024 - Movies (Mar 18th)
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Bill Squire Were Getting Famous 2024 - Movies (Mar 18th)
Andrew Orvedahl Doom Math 2024 - Movies (Mar 18th)
Final Heist 2024 - Movies (Mar 17th)
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Finding Me 2025 - Movies (Mar 17th)
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DSLR 2025 - ()
One Night in Tokyo 2025 - ()
Midwinter 2024 - ()
Flight Photographers 2025 - ()
American Terror Tales 3 2024 - ()
Bert Kreischer Lucky 2025 - ()
Dead Teenagers 2024 - ()
Wolves Against the World 2024 - ()
Bill Squire Were Getting Famous 2024 - ()
Andrew Orvedahl Doom Math 2024 - ()
Final Heist 2024 - ()
National Anthem 2024 - ()
Finding Me 2025 - ()
Rich Flu 2024 - ()
Across the Line 2025 - ()
Jersey Bred 2024 - ()
I Love You Forever 2024 - ()
Queer 2024 - ()
The Glassworker 2024 - ()
Niko Beyond the Northern Lights 2024 - ()
For what it is--a slice-of-life of a group of people, trying to make the big-time and at least be able to say that they were on Broadway--it's a fine work. I admit I haven't seen the stage play--which many sources say is far superior to this filmic adaptation. I'm rather surprised that: a) Michael Douglas gets star status here, or is even involved. He doesn't dance here. The film would have worked so much better if it showed his character showing some dance moves and getting across to the dancers what he wanted. Both his character would have connected better with the dancers, and he would have connected better with filmgoers; and b) that Lord Richard Attenborough got involved with this: It's definitely not his forte or cup of tea. Perhaps he wanted to expand his directorial palette, or that some of his influences were masters of the genre, such as Lubitsch or Minnelli. Personally, I wish I knew, for he has done much better work in his career. Overall, not one of the better of contemporary (post-1970) musicals, but worth seeing once, if renting or seeing that it's coming on TV. Not a top purchase priority, unless you are a Douglas or Attenborough completest, and then prepare to be disappointed.
Were it not for Marvin Hamlisch's "Surprise, Surprise" then I think this film would be even more forgettable than it actually is. Michael Douglas is the hard-to-please Broadway director "Zach" who is casting the dance ensemble for his latest production. Aided by his sidekick "Larry" (Terrence Mann) he pits the would-be's through their paces with rigorous routines and some rather invasive questioning about their lives, families and peccadilloes. I did see this on stage and felt it a rather flat and introspective of an industry that should usually keep it's casting practices under wraps. Here, Richard Attenborough attempts to lay these bare for the big screen and ends up with a rather dull, processional series of footwork demonstrations and sob-stories that are pretty wearisome to endure after a repetitive first half an hour. Alyson Reed clutters the thing up further as the down-on-her-luck "Cassie" who is looking for favours from a man who seems pretty impervious to many of the decent aspects of human nature. The stage setting is too sterile to engage for long, and the characterisations fit just about every stereotype in the book as these youngsters vie for this latest opportunity to shine (and eat!). I didn't hate this, but it's really a rather disappointing foray into the potentially fascinating world of who wins and who doesn't in this highly competitive and fickle environment!
After a fictitious marriage with a Russian emigrant, Cellisten Louka, a Czech man, must suddenly take responsibility for her son. However, it’s not long before the communication barrier is broken between the two new family members.
A celebration of love and creative inspiration takes place in the infamous, gaudy and glamorous Parisian nightclub, at the cusp of the 20th century. A young poet, who is plunged into the heady world of Moulin Rouge, begins a passionate affair with the club's most notorious and beautiful star.
Quadruplet siblings (two boys and two girls) played by Vice Ganda were separated after birth when their grandmother steals two of the siblings (a boy and a girl) away from their mother. The stolen siblings lived a comfortable life in the US, not knowing that their mother and siblings, a gay and a lesbian, struggled to make ends meet in the Philippines. When the boy develops hepatitis that requires him to have a liver transplant from a compatible donor, their father tells them about their siblings in the Philippines, who may be possible candidates as donors. But once the siblings finally meet, pent up resentment and animosity between the girl and the gay siblings, has threatened the chances of the boy sibling's survival.
Praxis peels away the layers of narrative even as Brian, the film's axis, struggles to create his true self. Brian, a writer on the verge of a breakdown, is aided by Joe and an Elusive Woman as he sifts through the fragments of his persona to discover his true core. Fighting against fear and the indifference of society - aptly symbolized by the medical establishment - his quest reflects the classical mythos of Proteus and the human search for meaning in the universe.
A young man of Chinese-Cambodian descent dies, leaving behind his isolated mother and his lover of four years. Though the two don't share a language, they grow close through their grief.
An ex-seminarian slash communist runs a hotel in Baguio. He then meets a handsome upcoming lawyer. A once-a-year trip to Baguio by the lawyer and conversations with the hotel owner develop into an affair which encompasses decades of socio-political changes in the country.
The story of Dylan Pettersson, a 23-year-old girl from a small island in the Swedish archipelago with big dancing aspirations.
In Afghanistan, "batchas" are young male prostitutes who live under the protection of a master in a house where they are trained to dance dressed as girls for a men's audience. Veteran dancer Saman starts worrying when he sees Bijane, the new recruit, who has been chosen to replace him. Despite his jealousy, he must initiate Bijane into the art of the Batcha dancing.
After years in hiding and struggling to control his demons, an eccentric drifter returns home and discovers that his childhood abuser, the center of his pain, is still alive.
Two high school students form an intense connection as they navigate the challenges of discovering and expressing their truest selves.