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_**Ambitious and High-Concept Sci-Fi (for Grown-Ups only)**_ I can see WHY some don't like "Generations" (1994) or don't 'get' it: This seventh Star Trek film has some (false) plot holes and some things aren't spelled-out or explained very well (So what? Doesn't mystery intrinsically come with the territory of space adventure?); plus the story is a bit convoluted, particularly for those not familiar with Star Trek up to this point, both generations. Regardless, "Generations" is ambitious, high-concept sci-fi of the highest order; it leaves the viewer with many interesting questions to ponder long afterwards. Although the Nexus has been criticized as a mere gimmick to get Kirk and Picard together, I find the concept utterly fascinating: No matter how much we want it, an illusory paradise is just that, an illusion. As far as I'm concerned, the concept of the Nexus and its implementation into the storyline is nothing short of brilliant. Who created the Nexus? Why, who else but the Talosians, the 'antagonists' of Trek's very first episode, "The Cage"! Think about it. Besides this, there are multiple highlights (some SPOILERS follow): The usual Trek humor, Data's amusing experiences with the emotion chip, Malcolm McDowell's outstanding performance as the Soran, his believable obsession and justifications, B'Etor & Lursa and their "wild bunch" Klingons, the startling obliteration of them and their vessel, the thrilling crash-landing of the Enterprise-D, the meeting of Kirk and Picard in the Nexus, the final showdown with Soran and Kirk's death. Needless to say, "Generations" does far more than offer mere juvenile space battles. BIGGEST PLOT HOLE (OR MAYBE NOT): Picard's purpose in leaving the Nexus is to stop Soran from annihilating the Enerprise-D crew and the entire Veridian solar system, including the 230 million people that live on Veridian IV. Since Picard can leave the Nexus and "go anywhere any time," as Guinan pointed out earlier, why go to Veridian III about A MINUTE before Soran launches his rocket? Why not go back to when Soran was a guest on the Enterprise-D and apprehend him then and there? Writer Ronald D. Moore defended Picard's decision on the grounds that he didn't want to risk the dangerous and unexpected consequences that can occur when tampering with the timeline; hence, his journey back in time from the Nexus is only a matter of a minute or so. It's a good explanation. Speaking of explanations, some have criticized the fact that Guinan is simultaneously present in the real world and in the Nexus. How could this be? It's simple: It is repeatedly established that the reality experienced in the Nexus is not real; one experiences what they desire in the Nexus, not what is necessarily real. For instance, Picard has no children in the real world, but because he DESIRED to have them he was able to experience them in the Nexus. Hence, the 'Guinan' portrayed in the Nexus may walk, talk and act precisely like Guinan, but she's not real. She's only there because Picard desires her to be there for the purpose of explaining the nature of the Nexus. That said, many of the people in the Nexus are real, like Picard and Kirk. COMMENTARY ON THE NEXUS: Although the Nexus should simply be taken at face value as a strange space phenomenon (likely created by the Talosians), you can also regard it as an analogy. At first glance the viewer might get the impression that the Nexus is a type of heaven, but this can't be so since it is repeatedly emphasized in the film that the people and events experienced in the Nexus are NOT real (for the most part). 'Heaven,' a term theologians and ministers traditionally use to refer to the eternal abode of the redeemed (technically referred to as "the new heavens and new earth" in the bible, as shown in 2 Peter 3:13), is always depicted as real in the bible, not an illusory paradise. If the Nexus is not analogous of heaven, what could it be a type of? The Nexus corresponds to any addiction a person "tastes" and embraces to escape reality (e.g. pipe dreams, drugs, alcohol, computer games, TV, porn, fishing, shopping, golf, etc.). Some, like Soran, are unable to flee its clutches and waste their lives and talents OBSESSED by it. Others, like Picard and Kirk, are able to see the truth and escape; they therefore "make a difference" in real life. BOTTOM LINE: This "passing-of-the-torch" installment requires an attention span and an appreciation for high-concept sci-fi; it will likely bore those for whom Star Trek only means neato spacecrafts and superficial space dogfights (don't get me wrong, they each have their place in Trek). "Generations" has the courage to make bold changes -- killing off an iconic character, and fairly prominent support characters as well, not to mention destroying the Enterprise-D. In short, "Generations" is science-fiction for grown-ups and youth with advanced cerebral development. All others should stick with juvenile space fantasy flicks (giggle). The film runs 1 hour, 57 minutes. GRADE: A
I'll be honest, I really hated Star Trek The Motion Picture. I mean, I REALLY hated it and I am a Star Trek fan... ... so it's sort of fitting that I hate Generations as well. I mean, it doesn't do the first generation or the Next Generation justice at all does it? Kirk shouldn't have been in it. The OG Enterprise crew shouldn't have been in it. It felt like it robbed TNG of their first outing on the big screen while insulting the original crew of the Enterprise.
I've seen this one a few times over the years and while not great and the plot was something akin to a two-part episode of TNG, I still was mildly entertained even if Malcolm McDowell's role was underdeveloped with us being told of his motivations with the death of his family versus being shown it via flashbacks. But the selling point was seeing the two iconic Captains together, even if only for 25-minutes. **3.0/5**
A pretty lame attempt to synthesise the old and the new as “Capt. Kirk” (William Shatner) and “Mr. Scott” (James Doohan) are invited to the maiden voyage of the latest USS Enterprise. Needless to say, it all goes wrong as they encounter an enormous energy ribbon that strikes the ship and mayhem ensues. Jump forward several years and “Capt. Picard” (Patrick Stewart) is now in charge of the ship and the TNG crew have to deal with Roddy McDowell, the mad scientist determined to recreate that sequence of events so he can reunite with his lost wife. “Picard” is reunited with “Kirk” in a sort of parallel timeline as they combine to try to defeat their foe. Sadly, we have now entered into the realms of "Star Trek" with "holodecks", "prime directives" and Gilbert & Sullivan - the fun, tongue-in-cheek elements are gone and it starts to take itself far too seriously. McDowell always did manage to carry off the "slightly deranged" roles well, but otherwise this runs out of steam for me after 15 minutes...
In the near future, the “ARK Project” has initiated a program to increase the quality of human life through the peaceful use of robots. Dr. Komyoji, the chief scientist on the project, has developed a process to create a robot with a figurative human “heart” through the installation of a “conscience circuit”, but his plans are violently opposed by researcher Gilbert Kanzaki. When Dr. Komyoji is killed in an apparent accident, his children Masaru and Mitsuko are targeted by mysterious forces within the ARK Project looking to gain control of the scientist’s research data. But the villains are opposed by Jiro, the android with a human conscience who fights for justice as the hero Kikaider.
Nick Randall is a Los Angeles-based bounty hunter and an ex-CIA operative who is asked by a former co-worker to help track down terrorist Malak Al Rahim. However, Malak Al Rahim is also looking for Randall, forcing a showdown on the waterfront.
When a powerful new Makamou attacks and defeats Hibiki, Asumu dives into Takeshi’s history and discovers a book that details the ancient Oni and a boy sharing his name. As he reads on, he learns of the tensions between humans and Oni as they struggle to stop the Orochi Makamou, but will he discover the key to defeating the new Orochi in the present?
Viktor, a methodical hit man, probably on his last job, has no plan for his retirement. He does not kill Nina, a woman sleeping beside his latest mark; then he follows her and rescues her from an attempted suicide. Nina is attracted to him, but also wants to know who he is. Her pursuit of his identity crosses the investigation of Lang, a brilliant police investigator who tries to inhabit the minds of the victims and the killer. Viktor's employer also wants to kill Viktor and his contact, an aging arms dealer and family friend. Does Viktor have a future?
An Australian couple take a sailing trip in the Pacific to get over the recent loss of their son. While on the open sea, they come across a sinking ship with one survivor who is not at all what he seems.
Middle schooler Ben spends his free time watching sci-fi films, playing video games and reading comic books. Surprisingly, his affinity for all things fantastical yields a real result – when he has a vivid dream about technology, his prodigy best friend Wolfgang manages to create a working spacecraft. Joined by their buddy Darren, the boys take off into outer space and encounter some very odd extraterrestrial life.
What does it take to become a Stepford wife, a woman perfect beyond belief? Ask the Stepford husbands, who've created this high-tech, terrifying little town.
Chris crashes into a carload of other young people, and the group of stranded motorists is soon lost in the woods of West Virginia, where they're hunted by three cannibalistic mountain men who are grossly disfigured by generations of inbreeding.
A depressed housewife who learns her husband was killed in a car accident the day previously, awakens the next morning to find him alive and well at home, and then awakens the day after to a world in which he is still dead.
A group of Vietnam War veterans re-unite to rescue one of their own left behind and taken prisoner by the Vietnamese.