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**Despite Swinton's powerful performance, Luca Guadagnino proved it a mistake to put narrative at the service of technique.** What is the origin and focal point of cinematographic art? It's a question that seems rhetorical, but which, for me, is fundamental to understanding the problems of this film. Why? Because for me, the essential point of cinema, what is most important, is to tell a story. This means that aesthetics, style and art must serve the narrative, not the other way around. And what this film does is, precisely, use a narrative for an exercise in aesthetics and style. The script had everything to work, with a dramatic story that, despite not bringing anything new (there are lots of movies about adulteries, mature women dissatisfied with their lives, rich families that work badly, etc.), at least had everything that it needed to entertain us. Basically, it's the story of a Russian woman who married an Italian textile tycoon and had three children. She is not necessarily unhappy, but lives a monotonous existence, at the whim of social and family conveniences, so she ends up finding excitement and pleasure in a torrid affair with a friend of one of her sons. And of course, when all this comes to light, the family's life is shaken. The film has its value for the narrative and the script, even considering that there is a lot of cliché and predictable melodrama. But director Luca Guadagnino doesn't seem to give relevance to the story he wants to tell. He is not interested in entertaining us with a film that blends art and entertainment harmoniously. Guadagnino just wants to show off and show everything he has learned about cinema, all the technique, the mastery of cinematography, the use of the soundtrack, sound and image. This film is simply a vain exercise in technique and style. Tilda Swinton cleverly took the opportunity to, in open collaboration with the director, build for herself a character tailored to what she needs and knows how to do. It was a work that took several years, but it leveraged the project to its happy conclusion. And we have to admit that Swinton is wonderful and gives us a deep and powerful interpretation of the main character. Unfortunately, she is the only actress who stands out in this film on a positive note. The rest of the cast, mostly Italian, is quite average, with empty and disinterested interpretations, and there are really annoying and tiresome characters. As I said above, it is in the technical aspects that Guadagnino really bets, and tries his best to stand out, and we have to admit that he knows how to use cinematography and film work very well. The film makes good use of the filming locations used in Milan and elsewhere in Italy, and manages to convey the pleasure of eating a good meal. In fact, it even conveys the pleasure of gluttony more easily than the pleasure of sex, because all sex scenes, however intense, are manifestly artificial and exaggerated. The feeling that everything is over the top becomes even more latent due to a very slow pace, which makes us numb, and due to the intrusion of an irritating histrionic soundtrack.
Aging publisher Will Randall is at the end of his rope when a younger co-worker snatches his job out from under his nose. But after being bitten by a wolf, Will suddenly finds himself full of youthful vigor. As he struggles to regain his position, he becomes enthralled with Laura Alden, his former boss's daughter. And, as increasingly animal-like urges begin to overwhelm him, Randall worries that he may be turning into the creature that bit him.
Three years have passed since Elling moved to town together with Kjell Bjarne, his roommate from the institution at Brøynes. Elling now lives on his own in the apartment. Kjell Bjarne has moved up one floor, to Reidun and her little daughter Mojo. Elling feels like an outsider, and he isolates himself more and more. He observes humankind with astonishment, and wonders at how everyone else seems to be adjusting so well. Finally, Kjell Bjarne takes care of the situation. Elling protests, but he is still pretty happy as he is transformed into a new man, clean, fully rested and well dressed. Deep inside, he also knows what's lacking, and one evening he finally finds the woman he knows is able to fill the void in his life. He's willing to do anything to win her trust and conquer her love. But when he is invited home to his new girlfriend for dinner, a few objections appear to Elling, and the story doesn't end quite the way he had thought it would.
Long-haul driver Hannes (Manfred Krug) picks up a young hitchhiker, Herb (Jaecki Schwarz), who had a falling-out with his parents after dropping out of college and now travels around doing odd jobs. After a series of adventures, they are joined by Johanna (Jutta Hoffmann) and her child, who missed their bus and need a ride to Berlin. Johanna has left her husband so that he can reflect on their broken relationship and both men gradually begin to fall in love with her.
Let cool, mysterious high school student Ms. Koizumi and her girlfriends show you around the authentic ramen culture of everyday Japan in this fun food manga. The noodles, the toppings, the broth-the street stalls, restaurants, and home cooking...and yes, cup ramen too! You'll slurp down a whole new knowledge of Japan's greatest fast food that even many Japanese don't know...but Ms. Koizumi does!
A young Church elder struggles with his faith when the married woman he has been seeing breaks off their relationship.
Ohrid, 4th of may 1980. Marko, son of the cook in the Marshal's villa, get's a chance to try the food that has been cooked in front of his eyes all his life.
Not long after they cross paths at an art gallery, architect Ray Reardon and hypnotically sensual Lena are married with children. But as strange incidents occur, Ray begins to realize he may not really know the woman he married.
Primo and Secondo, two immigrant brothers, pin their hopes on a banquet honoring Louis Prima to save their struggling restaurant.
Heated tempers, frustrated desires and dashed hopes plague a diverse group of individuals whose lives cross paths in Mexico City. There is the bar-owner's son, Chava, who yearns to emigrate to America. A poor barber, Abel, is madly in love with the gorgeous Alma, who eventually becomes a high-class prostitute. Finally, there is Susanita, the desperate spinster who pursues many love affairs in hopes of finding a husband.