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The Talk - (May 18th)
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Though Mohsen Makhmalbaf eventually established a reputation as one of Iran's foremost filmmakers from the late 1980s, his early life was tumultuous: when he was 17, he stabbed a police officer at a protest against the Shah's regime and spent the next four years in prison, only being released after the Shah's overthrow. His 1996 film NUN VA GULDOON ("Bread and Flowerpot", released in the English-speaking world as "A Moment of Innocence") looks back at this episode from his youth, attempting to jointly evoke both the red-hot passion against political injustice of a young man and his older, wiser understanding that such clumsy violence was hardly a productive way to solve the world's problems. The result is intricately constructed as a film-within-a-film. As it opens, we see the now 40-year-old policeman (Mirhadi Tayebi) visiting Tehran to ask Makhmalbaf for a part in one of his films to make up for the stabbing two decades before. Makhmalbaf, playing himself, decides to make a film loosely based on the stabbing. He chooses a young man (Ali Bakhsi) to play his younger self, and he then asks the policeman to choose an actor as the young version of himself. The policeman, who has a thuggish look and is bitter about never being offered parts in films besides villain ones, chooses a handsome guy to represent himself, but he is then overruled by the filmmaker who chooses a much more boyish-looking and vulnerable young man (Ammar Tafti), emphasizing just how young both Makhmalbaf and the policemen were at the time. This layer of NUN VA GULDOON broadly pokes fun at what Makhmalbaf's life had become after his rise to fame in Iran, having to endlessly deal with ordinary people who fancied themselves actors and were desperate to appear on screen. Much of this part of the film was shot concurrently with his effort SALAAM CINEMA, which is entirely about the film casting process. Makhmalbaf and the policemen begin coaching the actors playing their younger selves and we see those young people beginning to act their roles, as well as a young lady (Maryam Mohamadamini) playing a girl that the policeman was in love with at the time. In a magical realist fashion, the layers of the film shift in the middle of scenes: one moment we are watching actors play roles, the next moment it is as if the viewer is really seeing what happened in the mid-1970s. It is this magical intertwining of past and present that made Nun va guldoon such a powerful experience for me. The ending, which has been fairly praised as "the greatest freeze-frame since Truffaut's Les 400 Coups, is just as much a work of art in itself as any still from a Tarkovsky film. Except for Makhmalbaf himself and Moharram Zaynalzadeh in a supporting role as his cameraman, none of the people in the film were trained actors. With Mirhadi Tayebi as the policeman, this is a weak part of the film: he delivers his lines in a stilted way and it is hard to suspend disbelief. With the others, however, Makhmalbaf made a smart choice, as Ammar Tafti and Ali Bakhsi are convincing in their roles, but there is still a youthful awkwardness and authenticity about them that would might have been lost if they were professionals. Most dazzling of all, however, is Maryam Mohamadamini as the love interest. She's a magnetic screen presence, and as the film leads to its incredible ending, she deftly conveys so much of the suspense and drama through gestures alone. It's a huge loss to cinema that she apparently never acted again. In spite of the film's limitations in terms of some of the acting and the limited resources Makhmalbaf had to work with when making the film, I found Nun va guldoon a moving film and that last freeze-frame literally breathtaking. I'd recommend this to any lover of cinema.
In a small Midwestern town, a troubled teen with homicidal tendencies must hunt down and destroy a supernatural killer while keeping his own inner demons at bay.
After five (or six) years of vanilla-wedded bliss, ordinary suburbanites John and Jane Smith are stuck in a huge rut. Unbeknownst to each other, they are both coolly lethal, highly-paid assassins working for rival organisations. When they discover they're each other's next target, their secret lives collide in a spicy, explosive mix of wicked comedy, pent-up passion, nonstop action and high-tech weaponry.
Clean-cut Jeffrey Beaumont realizes his hometown is not so normal when he discovers a human ear in a field, the investigation soon catapulting him toward a disturbed nightclub singer and a drug-addicted sadist.
A Russian and a German sniper play a game of cat-and-mouse during the Battle of Stalingrad in WWII.
This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.
Over the course of five social occasions, a committed bachelor must consider the notion that he may have discovered love.
Kids, me and your uncle always had a weird relationship, but in the Summer of 1863, well, just watch. History project I made about the civil war and how Americans were divided.
Suzanne Stone wants to be a world-famous news anchor and she is willing to do anything to get what she wants. What she lacks in intelligence, she makes up for in cold determination and diabolical wiles. As she pursues her goal with relentless focus, she is forced to destroy anything and anyone that may stand in her way, regardless of the ultimate cost or means necessary.
Viktor Navorski is a man without a country; his plane took off just as a coup d'etat exploded in his homeland, leaving it in shambles, and now he's stranded at Kennedy Airport, where he's holding a passport that nobody recognizes. While quarantined in the transit lounge until authorities can figure out what to do with him, Viktor simply goes on living – and courts romance with a beautiful flight attendant.
While doing a friend a favour and searching for a runaway teenager, a police detective stumbles upon a bizarre band of criminals about to pull off a bank robbery. The screenplay by Christopher Cannan and Steve Barancik is based on the short story "The House in Turk Street" by Dashiell Hammett.
37-year-old Italian-American widow Loretta Castorini believes she is unlucky in love, and so accepts a marriage proposal from her boyfriend Johnny, even though she doesn't love him. When she meets his estranged younger brother Ronny, an emotional and passionate man, she finds herself drawn to him. She tries to resist, but Ronny, who blames his brother for the loss of his hand, has no scruples about aggressively pursuing her while Johnny is out of the country. As Loretta falls for Ronny, she learns that she's not the only one in her family with a secret romance.