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Though doubtless the emphasis of this film must be on the two leading stars, I found that an huge degree of the richness of this Jane Austen story came from the wonderfully characterful supporting cast: Mary Boland as the mother, constantly and brazenly seeking advantageous marriages for the "Bennet" brood, with Edmund Gwenn as her husband; Melville Cooper ("Mr. Collins), EE Clive ("Sir William) and the redoubtable Edna May Oliver as "Lady Catherine" all contributing splendidly to this otherwise rather loosely adapted story of "Elizabeth" (Greer Garson) and her rather complicated on/off courtship with "Mr. Darcy" (Laurence Olivier). This is certainly one of the latter's more engaging performance. Though still in ultra-ham mode, he does actually manage to convey the humour of his part, as well as his (largely self-inflicted) struggles to woo, rather well. Garson always was somewhat underrated. I feel she'd have made for a wonderful silent movie star - she had the eyes and the mannerisms that convey what a thousand words could not - and she holds the attention well here as the lively, independently-minded "Elizabeth". The other sisters get more of a look in too - Ann Rutherford ("Lydia") and Maureen O'Sullivan ("Jane) deliver well as they seek out their own beaus. This adaption, led by Aldous Huxley, cuts some of Austen's ever-present wordiness and helps focus the story better, if perhaps less potently and stingingly than the writer intended. I am not really a fan of this genre, nor of this author - but this is entertaining and well made with strong performances, sumptuous settings and quite a bit of charm. Easily the best version of this story to make it onto the silver screen, in my view.
**A first adaptation of Jane Austen's greatest work, which is riddled with problems, but is competent, pragmatic and very elegant. Thought of as a comedy, it was thought of the wrong way.** At this point, I believe that even those who have never read a Jane Austen novel will surely agree that the writer is, quite simply, one of the most distinguished in the classical pantheon of the English language. “Pride and Prejudice” is a novel that has been adapted to film and TV several times, and each production had its pros and cons. One cannot ignore this production, however, because it was truly the first to transport romance from paper to celluloid. Its impact, at the time, was enormous, it was a great success and even helped to make the original book better known and popular outside England. I won't waste my time explaining the plot, which is well known to everyone who has seen at least one of the most recent adaptations of the book. What I can say is that this film, with its short duration, ends up not being able to do justice to the original material, which is largely hidden. It couldn't be otherwise, anyway, but director Robert Z. Leonard even cut out passages that were quite important for the general understanding of the plot! Another problem with this film is how the production simply didn't care about choosing actors who fit the characters. Concerned with attracting the public and making the film work, the producers chose famous, recognizable actors, even if they are clearly older than the characters they embodied. “Safe bets”, as I sometimes call them, because they combined popularity with assured talent: it's no wonder that, each in their own way, they managed to give us good performances. I particularly liked Greer Garson, who I feel made a genuine effort to look younger and more rebellious, as her character demanded. Also, Edna May Oliver deserves praise for the way she gave life to the imposing and arrogant Lady Catherine. Maureen O'Sullivan, Edmund Gwenn and Edward Ashley do an equally good job, and despite not liking the overly pompous and arrogant ways, Lawrence Olivier was competent as Darcy. Technically, the film has no major flaws or demerits worth mentioning. Filmed in black and white when originally planned to use color (due to allegedly running out of celluloid due to the production of “Gone With The Wind”), the film has very good cinematography and was elegantly shot. The soundtrack is not bad, being within what we expect to find in a film from the early Forties. However, I cannot fail to criticize, on the negative side, the option of temporally placing the action thirty years after the period in which everything takes place in the book, even though I understand the convenience, for the entire production, of being able to recycle part of the costumes used in “Gone With The Wind”.
The criminal history is inscribed in the everyday life of prosperous, apparently quite prosperous people. Suddenly, the truth is revealed, hidden for the time being under the guise of respectability. The past is returning, creating mysterious murders ...
The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.
As the Space Race ensues, seven pilots set off on a path to become the first American astronauts to enter space. However, the road to making history brings forth momentous challenges.
Shallow, rich and socially successful Cher is at the top of her Beverly Hills high school's pecking scale. Seeing herself as a matchmaker, Cher first coaxes two teachers into dating each other. Emboldened by her success, she decides to give hopelessly klutzy new student Tai a makeover. When Tai becomes more popular than she is, Cher realizes that her disapproving ex-stepbrother was right about how misguided she was - and falls for him.
Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.
Four best friends (Tibby, Lena, Carmen & Bridget) who buy a mysterious pair of pants that fits each of them, despite their differing sizes, and makes whoever wears them feel fabulous. When faced with the prospect of spending their first summer apart, the pals decide they'll swap the pants so that each girl in turn can enjoy the magic.
Accio and Manrico are siblings from a working-class family in 1960s Italy: older Manrico is handsome, charismatic, and loved by all, while younger Accio is sulky, hot-headed, and treats life as a battleground — much to his parents' chagrin. After the former is drawn into left-wing politics, Accio joins the fascists out of spite, but his flimsy beliefs are put to test when he falls for Manrico's like-minded girlfriend.
Deformed since birth, a bitter man known only as The Phantom lives in the sewers underneath the Paris Opera House. He falls in love with the obscure chorus singer Christine, and privately tutors her while terrorizing the rest of the crew.
When a man mysteriously vanishes on his ship in the Caribbean, his two brothers journey there to investigate his disappearance.
A concentration camp on a barren island is hell for the exiled political prisoners. The everyday life of the prisoners consists of interrogations, psychological and physical violence, arbitrary punishments and other torments. One of the prisoners who refuses to yield is subjected to torture. Trying to escape, he falls into the sea. When the Queen visits the island, the prison guards find the runaway and murder him without a second thought, since he is already assumed dead.
A Harvard professor is lured back into the courtroom after twenty-five years to take the case of a young black man condemned to death for the horrific murder of a child.