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Not sure who thought this was a good idea, much less release this to theaters (this is the kind of film one would find for free on Amazon Prime). I like the lead actress thanks to that show YOU, but otherwise this was just a dumb movie. Perhaps the premise would've been fine as a segment for an episode of The Twilight Zone or, back in the day, Tales from the Crypt. Perhaps. Unfortunately with only a $6.5 million budget and grossing $35 million worldwide, a sequel is inevitable, though wouldn't surprise me if it gets streaming release. **1.25/5**
As a fan of Final Destination (2000) I approached the film with an air of optimism hoping to discover a similar result. The premise was interesting, ideal for the mystery horror genre. Unfortunately, 'Countdown' quickly descends into your standard cheese eg. jump scares, silly monsters that come and get you. Too much of the unknown malevolence is revealed too soon - and the mystery, suspense and most importantly scariness falls by the wayside. Fear lies in the unknown and what your own mind can conjure up. Unfortunately, not many filmmakers appear to realize this anymore... but that's not what killed this movie. **SPOILERS!** Just about every mainstream movie and TV show made nowadays is filled with political messaging; some more overt than others, but if you know what to look for you'll see it. I was really hoping this one could just stick to telling a story, where I could sit back for 90 minutes and watch our protagonist "Quinn" race against the Countdown to avoid certain death, as opposed to having political messages shoved down my throat and endure yet more anti-White attacks, insults and repugnance. Shamefully, 'Countdown' joins that growing list of Cultural Marxist propaganda. That's what destroyed this movie for me. Now not all of these instances alone I'm about to provide are proof of Cultural Marxism. It's the contrast of having a false representation forcibly repeated with agenda driven consistency and how they're programming us to believe that these representations are real-world norms. Generally observable group behaviors, patterns and actions are no longer being characterized and instead misrepresented; even inverted in media. Stereotypes are "no longer politically correct," regardless whether they're accurate or fair. Alternatively, these real-life human traits and personas are being distorted not only in fiction but the real world for a political agenda. The propaganda that's occurring throughout the majority of media now has a real-life impact and consequences. In other words; our understanding of real-world actions, events and moral standards are being corrupted and manipulated through media. Some examples: * "Evil White man" as doctor Sullivan the sociopath and sexual predator. [Whites with fair hair and blue eyes are increasingly portrayed as evil villains and wrongdoers; untrustworthy and treacherous. Often with English, German or Eastern European accents]. * "Good & heroic Black man." In contrast noble Matt is a perfect gentleman and sensitive boyfriend material. [Black and Brown performers are often now given the role of hero or good doer. Courageous and virtuous; trustworthy and loyal]. * White male bashing and anti-White remarks. The line by Matt: _"I just found out I'm gonna die and I don't mind taking a White man with me."_ Imagine if the roles were reversed? * Miscegenation. Predictably a blue-eyed, blonde girl with a Black man. Race-mixing propaganda is everywhere you look now. Film, TV, Advertising etc. Diversity means: 'without Whites,' particularly straight, White males. The more diversity there is, the fewer White people they'll be. * More White male bashing & conspiracy theorist attacks. A drunk at the bar becomes a test subject because he's talking about Antarctica and "Flat Earth." Matt wants to get him to download the app so they can read the Terms & Conditions and Quinn doesn't feel good about it. Of course, once the drunk mentions the taboo subject you're not allowed to question, 'the Holocaust,' Quinn changes her mind and promptly tells Matt to go ahead. Bear in mind the protagonist, Quinn is supposed to be a caring, ethical nurse! * Quinn and Matt share an interracial kiss in front of her teenage sister and she looks on approvingly. [The younger the age one can start receiving programming & conditioning, the better. This has been proven with declassified mind control experiment files]. * In a scene at the end credits 'Tech Nerd' Derek is on his Tinder date and acts like a complete ass and turn-off to his date. If only she'd chosen the "more desirable" non-White date instead?! Now that I've pointed out some examples of Cultural Marxism and anti-White propaganda you'll begin to notice them everywhere - that's if you haven't already. Hope this review helps and you got to swallow a few Red Pills in the process! Thanks for reading. **Verdict 1/10** **'Countdown'** is more subversive Cultural Marxist anti-White propaganda with a story that could have been good if done right.
Countdown is another of Hollywood's recent attempts to generate a quick win with a small investment, yet another soulless film and product of a system that wastes premises with potential in generic films. The film follows Quinn Harris, a girl who decides to download an application that can predict how long until our imminent death. However, everything gets complicated when Quinn discovers that she has just over two days until her death prediction and strange things start happening around her. Reading a short description of these, we cannot help but be intrigued by what the film may offer, as we live in a world dependent on technology and applications that make life easier for us on a daily basis. But instead of observing on screen a premise with explored potential to the fullest, we are forced to visualize a generic amalgamation of Jump Scares every minute, without any kind of tension, without any kind of terror. The film is really more of the same, more than we have seen millions of times, without offering anything new, without even trying to be original (since, in its execution, it resembles the saga of films The Last Destination, only without the elaborate bloody deaths that made the 5 films so famous), containing only a relatively decent cinematography and direction. It's really a shame to see ideas like the one that gave rise to this film being wasted, turned into scripts full of unexplored, basic mythologies and monotonous and trivial dialogues. The characters we are presented with are superficial, without any kind of distinct characteristics (although the actors do a good job with the material provided to them), the situations they find themselves in are familiar, many of the scenes in the film are unintentionally hilarious (which is not supposed to happen when you want to scare the audience) and the tone of the film oscillates as much (sometimes it tries to be completely terror, others a kind of amalgam of comedy and terror) as the waves of the peaceful. All in all, this is a film that is not at all worthwhile, a product of a studio looking for easy money, without really wanting to present the audience with something worthy of their attention. This is the worst kind of horror film: the one without artistic integrity.
A hospice nurse working at a spooky New Orleans plantation home finds herself entangled in a mystery involving the house's dark past.
On 28 December 1999, the citizens of New York City are getting ready for the turn of the millennium. However, Satan decides to crash the party by coming to the city and searching for his chosen bride — a 20-year-old woman named Christine York. The world will end, and the only hope lies within an atheist named Jericho Cane.
When the sky really is falling and sanity has flown the coop, who will rise to save the day? Together with his hysterical band of misfit friends, Chicken Little must hatch a plan to save the planet from alien invasion and prove that the world's biggest hero is a little chicken.
Gabriel tells the story of an archangel who fights to bring light back to purgatory - a place where darkness rules - and save the souls of the city's inhabitants.
Homicide detective John Hobbes witnesses the execution of serial killer Edgar Reese. Soon after the execution the killings start again, and they are very similar to Reese's style.
Hancock is a down-and-out superhero who's forced to employ a PR expert to help repair his image when the public grows weary of all the damage he's inflicted during his lifesaving heroics. The agent's idea of imprisoning the antihero to make the world miss him proves successful, but will Hancock stick to his new sense of purpose or slip back into old habits?
Alex Corvis returns to the world of the living to avenge the murder of his girlfriend, who he was wrongly accused of killing. But first he must uncover the truth about who really killed her.
During a routine case in L.A., NY private investigator Harry D'Amour stumbles over members of a fanatic cult who are preparing for the resurrection of their leader Nix, a powerful magician who was killed 13 years earlier.
The residents of a small town are excited when a flaming meteor lands in the hills, until they discover it is the first of many transport devices from Mars bringing an army of invaders invincible to any man-made weapon, even the atomic bomb.
When megalomaniacal White Goodman, the owner of a trendy, high-end fitness center, makes a move to take over the struggling local gym run by happy-go-lucky Pete La Fleur, there's only one way for La Fleur to fight back: dodgeball. Aided by a dodgeball guru and Goodman's attorney, La Fleur and his rag-tag team of underdogs launch a knock-down, drag-out battle in which the winner takes all.
A lowly pencil pusher working for MI7, Johnny English is suddenly promoted to super spy after Agent One is assassinated and every other agent is blown up at his funeral. When a billionaire entrepreneur sponsors the exhibition of the Crown Jewels—and the valuable gems disappear on the opening night and on English's watch—the newly-designated agent must jump into action to find the thief and recover the missing gems.