Haunting of the Queen Mary 2023 - Movies (Mar 28th)
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Peter Five Eight 2024 - Movies (Mar 28th)
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The Truth vs. Alex Jones 2024 - Movies (Mar 27th)
Easter Evil 2024 - Movies (Mar 27th)
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Molli and Max in the Future 2023 - Movies (Mar 26th)
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Dimension 20 - (Mar 28th)
Resident Alien - (Mar 28th)
Allegiance - (Mar 28th)
Invincible - (Mar 28th)
The Kelly Clarkson Show - (Mar 28th)
The Great Canadian Pottery Throw Down - (Mar 28th)
After Midnight - (Mar 28th)
Reality of Wrestling - (Mar 28th)
Gogglebox Australia - (Mar 28th)
Tipping Point Australia - (Mar 28th)
The Chase Australia - (Mar 28th)
Salvage Hunters- The Restorers - (Mar 28th)
Selling Houses Australia - (Mar 28th)
New Zealand Today - (Mar 28th)
Deal or No Deal - (Mar 28th)
Salvage Hunters - (Mar 28th)
Loaded in Paradise - (Mar 28th)
The 11th Hour with Stephanie Ruhle - (Mar 28th)
Dateline- Secrets Uncovered - (Mar 28th)
The Cook Up with Adam Liaw - (Mar 28th)
STAR 80 (1983) is arguably the least regarded of Bob Fosse's five outings as director. What you are about to read is going to come across as a condemnation of this film - it is not. It's just my analysis of a film that has some obvious weak points which Fosse was oblivious to. And let me clarify further: I have seen and enjoyed all of the films he directed and own three of them. Although I appear to be making a case for this film in the most critical way possible, I actually enjoy it enough to revisit it from time to time. I would legitimately consider myself to be a Fosse fan. Now, that said... Save for one scene involving Dorothy and Paul meeting a celebrity at the Playboy Mansion, this is a film totally devoid of humor. I realize the subject matter is lurid and we know the tragic ending going in, but I think humanizing these characters at the beginning of the film, before things get really dark, would have gone a long way towards getting away from that one-note feeling that this film has. (For an example of a film where we know death is coming but are able to laugh without guilt early on, check out Paul Schrader's AUTO FOCUS [2002]. That film might actually be a little too sunny at the beginning, but that's a discussion for another day.) This appears to be a deliberate decision on Fosse's part, as he keeps foreshadowing the ending by flashing forward to the murder scene at various points. Most people already knew the story going in, so he wasn't giving anything away by doing this, but his decision to keep referencing the impending bloodbath is oppressive. It stifles any emotion the viewer might generate and perpetuates only a lingering feeling of dread. Perhaps that's exactly where Fosse wanted his audience. If that is the case, he succeeded 100%. Mariel Hemingway is questionable as Dorothy, but she tries. In her defense, I don't think Fosse's script does her any favors. At the beginning of the film, she displays a kind-of 'gee whiz' innocence which is totally appropriate. But by the time she has left home, posed for Playboy, appeared in films, slept with her director, and had her marriage fall apart, there should have been at least a little hardening or cynicism creeping in. If real-life Dorothy experienced this, then Fosse is keeping it a secret. On-screen Dorothy isn't allowed to mature, or develop emotionally in any deep way. I'm loathe to imply anything, but perhaps Fosse kept her character as one-dimensional as he did for a reason. As for the other performances: Eric Roberts does what he is asked to do. He goes from leering creep to violent creep, and he does it well. Of course, when the first scene of the movie involves your character standing before a mirror practicing basic human interaction, but is unable to control his hateful tendencies even while alone, your character arc is pretty much set. But, yes, he is fine here. Cliff Robertson underplays Hugh Hefner in a nice contrast to the aggressive Roberts. Roger Rees makes no impression as the Peter Bogdanovich surrogate. Carroll Baker is allowed to display the actual emotions involved with watching your child slip into a situation that you know cannot lead anywhere good. She gives the best performance in the film. Looking at Fosse's directing credits, the thematic progression is uncanny. Each project gets progressively darker and more death obsessed. (Yes, even ALL THAT JAZZ (1979), which celebrated Joe Gideon's/Bob Fosse's death in its final big production number.) In a way, this film was the perfect final project for Fosse. A filmography which began with the upbeat optimism of Charity Hope Valentine ended with the necrophilic violation of Dorothy Stratten. I'm not sure where that emotional trajectory would have taken Fosse next, but finding something darker than this would have probably produced something very, very unsettling.
In the early years of the 20th century, Mohandas K. Gandhi, a British-trained lawyer, forsakes all worldly possessions to take up the cause of Indian independence. Faced with armed resistance from the British government, Gandhi adopts a policy of 'passive resistance', endeavouring to win freedom for his people without resorting to bloodshed.
An epic tale spanning forty years in the life of Celie, an African-American woman living in the South who survives incredible abuse and bigotry. After Celie's abusive father marries her off to the equally debasing 'Mister' Albert Johnson, things go from bad to worse, leaving Celie to find companionship anywhere she can. She perseveres, holding on to her dream of one day being reunited with her sister in Africa.
The life of boxer Jake LaMotta, whose violence and temper that led him to the top in the ring destroyed his life outside of it.
A struggling salesman takes custody of his son as he's poised to begin a life-changing professional career.
From the mean streets of the Belleville district of Paris to the dazzling limelight of New York's most famous concert halls, Edith Piaf's life was a constant battle to sing and survive, to live and love. Raised in her grandmother's brothel, Piaf was discovered in 1935 by nightclub owner Louis Leplee, who persuaded her to sing despite her extreme nervousness. Piaf became one of France's immortal icons, her voice one of the indelible signatures of the 20th century.
One winter night, Pilar runs away from home. With her, she takes only a few belongings and her son, Juan. Antonio soon sets out to look for her. He says Pilar is his sunshine, and what's more, "She gave him her eyes"...
A young teacher inspires her class of at-risk students to learn tolerance, apply themselves, and pursue education beyond high school.
Psycho Joe loves one thing: fast cars! When he gets a job at a local supermarket, Joe meets fellow "petrol head" Dazey, who quickly becomes his idol and best friend. Soon after, Joe falls for Savina, a goth girl who practices black magic. But Savina has already fallen for Dazey and will do anything to get him - including using Joe's feelings for her. In true Shakespearean fashion, this trio race down the road to tragedy.
She left school at 14, married at 17, divorced at 26, then became a striper and married a billionaire. But she lost all when her husband died. However, when she won 450 million judgement, she became a reality show star. However, when her judgement was overruled by a Texas court, she fell on hard time and met her third husband. Her 20 year old son died then she died. Do you know who did it?
Having been imprisoned for his part in the Watergate scandal, Charles Colson undergoes a religious conversion.
Errol Flynn, the swashbuckling Hollywood star and notorious ladies man, flouted convention all his life, but never more brazenly than in his last years when, swimming in vodka and unwilling to face his mortality, he undertook a liaison with an aspiring actress, Beverly Aadland. The two had a high-flying affair that spanned the globe and was enabled by the girl's fame-obsessed mother, Florence. It all came crashing to an end in October 1959, when events forced the relationship into the open, sparking an avalanche of publicity castigating Beverly and her mother - which only fed Florence's need to stay in the spotlight.