The Actor 2025 - Movies (Apr 1st)
Black Bag 2025 - Movies (Apr 1st)
Opus 2025 - Movies (Apr 1st)
A Working Man 2025 - Movies (Mar 31st)
Mufasa The Lion King 2024 - Movies (Mar 31st)
The Killer Is Calling 2025 - Movies (Mar 31st)
Hearts Around the Table Sharis Second Act 2025 - Movies (Mar 31st)
Mickey 17 2025 - Movies (Mar 30th)
Ransom 79 2024 - Movies (Mar 30th)
Punt The Irish and The NFL 2025 - Movies (Mar 30th)
The Break-Up Club 2024 - Movies (Mar 30th)
Bright Sky 2025 - Movies (Mar 30th)
King of the Apocalypse 2025 - Movies (Mar 29th)
Art Attack The Dissection of Terrifier 3 2025 - Movies (Mar 29th)
Sound of Hope The Story of Possum Trot 2024 - Movies (Mar 29th)
Better Man 2024 - Movies (Mar 29th)
Jason Byrne - The Ironic Bionic Man 2024 - Movies (Mar 29th)
Duchess 2024 - Movies (Mar 29th)
Incandescence 2024 - Movies (Mar 29th)
Alexander and the Terrible Horrible No Good Very Bad Road Trip 2025 - Movies (Mar 28th)
The Life List 2025 - Movies (Mar 28th)
Contraband- Seized at the Border - (Apr 1st)
Hollywood Demons - (Apr 1st)
Rescue- HI-Surf - (Apr 1st)
The One Show - (Apr 1st)
90 Day- The Last Resort Between the Sheets - (Apr 1st)
The Hunting Party - (Apr 1st)
NCIS - (Apr 1st)
Inside with Jen Psaki - (Apr 1st)
The Rachel Maddow Show - (Apr 1st)
Poppas House - (Apr 1st)
90 Day- The Last Resort - (Apr 1st)
Celtics City - (Apr 1st)
Spring Baking Championship - (Apr 1st)
The Neighborhood - (Apr 1st)
All American - (Apr 1st)
Lets Make a Deal - (Apr 1st)
The Price Is Right - (Apr 1st)
NCIS- Origins - (Apr 1st)
Twitter- Breaking the Bird - (Apr 1st)
United States of Scandal - (Apr 1st)
Does that "Starts in the middle of the action the flashes back to the start" thing that crops up sometimes, which I don't really like in movies. I think it works well for the ocassional episode of television and **sometimes** works out in mystery films, but even then, usually not. In a regular movie it mostly just feels like either they didn't have faith that their movie could keep audiences interested until the action kicks off later on, or they just can't figure out a decent way to start their movie off. Maybe both. Anyway, trying to pass off Josh Hutcherson as a brutish bad boy is fuckin' laughable and this whole thing is woefully under-explored. Can't think of anything quite like it I've seen before though, so points for that. _Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
So, the slightly amateurish "Billy" (Josh Hutcherson) decides to rob a gas station staffed by two girls - "Melinda" (Tilda Cobham-Harvey) and "Sheila" (Suki Waterhouse). The former girl is a bit strange, subdued, reticent even; her colleague far more confident with men but when the heist happens "Melinda" decides that this might be a time to assert herself with the young man. What now ensues borders on slapstick at times as she manages to take him hostage, sellotapes him to a chair (whereupon she tries to have sex with him...!) before, well - you really have to watch it. It has some quite surreal moments. Handsome Harry Shum Jr. turns up now and again as an wholly ineffective local cop and the whole thing, though pretty basic on both production and writing levels, is actually quite a quirky and watchable effort from Mike Gan that could maybe have lost ten/fifteen minutes of character and scenario establishment, but is still worth a watch.
A homeless woman living in the tunnels below New York City survives on her own terms in the days leading up to a blizzard.
John, a police officer is framed and drugs are found in his home. He is arrested and brutally interrogated. Using his skills as a ninja, he escapes and uncover a plot to steal his girlfriend's father's life work. He travels to China to face the 5 Element Ninjas and rescue his girlfriend.
A gang of thieves calling themselves the Santa Claus Gang are wreaking havoc, and the police can't keep up. Police Captain Gilbert is distracted by a Chinese reporter writing a story on his squad, and taxi driver Daniel is in the midst of a relationship crisis. After a string of mistakes in which the thieves outsmart the police time and time again, Daniel and his super-taxi pitch in.
A young Hutterite boy must marry his late brother's wife who comes from outside the community.
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.
John is a mild-mannered banker who has never been lucky in love. Fed up with waiting for the right girl to come along, John takes a chance on a Russian mail-order bride arranged via the Internet, where he is introduced to Nadia. John's fondness for Nadia grows... until the sudden arrival of Nadia's gregarious cousins makes John realize that he's in over his head.
With friends like these, who needs enemies? That's the question bad guy Porter is left asking after his wife and partner steal his heist money and leave him for dead - or so they think. Five months and an endless reservoir of bitterness later, Porter's partners and the crooked cops on his tail learn how bad payback can be.
The Driver specializes in driving getaway cars for robberies. His exceptional talent has prevented him from being caught yet. After another successful flight from the police a self-assured detective makes it his primary goal to catch the Driver. He promises pardons to a gang if they help to convict him in a set-up robbery. The Driver seeks help from The Player to mislead the detective.
After assuming his dead cellmate's identity to get with his girlfriend, an ex-con finds himself the reluctant participant in a casino heist.
A tough street kid takes the rap for a burglary committed by the son of his foster family and is sent to a boys reformatory, where the inmates are under the thumb of corrupt guards and a brutal prison doctor.