Godzilla Minus One 2023 - Movies (Nov 21st)
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Searching for a Serial Killer The Regina Smith Story 2024 - Movies (Nov 20th)
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Defying Gravity The Curtain Rises on Wicked 2024 - Movies (Nov 20th)
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The Talk - (Nov 21st)
The Young and the Restless - (Nov 21st)
The One Show - (Nov 21st)
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Ambulance - (Nov 21st)
Katy Tur Reports - (Nov 21st)
The Great British Bake Off- An Extra Slice - (Nov 21st)
Four in a Bed - (Nov 21st)
Richard Osmans House of Games - (Nov 21st)
Chris Jansing Reports - (Nov 21st)
Andrea Mitchell Reports - (Nov 21st)
Bangers and Cash- Restoring Classics - (Nov 21st)
GRAND SUMO Highlights - (Nov 21st)
Live from the Other Side with Tyler Henry - (Nov 21st)
TMZ Live - (Nov 21st)
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The View - (Nov 21st)
The Last Socialist Artefact - (Nov 21st)
Inside the NFL - (Nov 21st)
The Great Australian Bake Off - (Nov 21st)
QT8: The First Eight is the wrong title for this documentary/hagiography of Quentin Tarantino. Never mind the cacophony of of having two 'eights' (even if it is, as I suspect, a reference to the Crazy 88, it’s still pretty lame); a more accurate title would be The First Three That Actually Matter and the Six (counting Once Upon a Time in Hollywood) Bloated, Masturbatory, Overrated Ego Trips that Followed. Like it or lump it, there is a 'before and after' Jackie Brown. Tarantino’s transition from genius to raving lunatic began with Kill Bill, and reached an apex with the pointless exercises in historic revisionism that are Inglorious Basterds and Once Upon a Time in Hollywood. Back to QT8, I would normally dismiss a documentary about a living person wherein that person is conspicuous by his absence as nothing more than a fucking waste of everybody’s time — in this case, however, I’ll file it under 'addition by subtraction.' Arguably the best thing about this movie is that Tarantino is nowhere to be seen or heard. The second best thing about about the film are the contributions of Michael Madsen, Sam Jackson, and Christoph Waltz (and, to a lesser extent, Tim Roth, Bruce Dern, Kurt Russell, and Jamie Foxx). Their interventions are entertaining and insightful, and carry the weight of credibility. In contrast, when I hear some nobody saying "Watching [Reservoir Dogs] with enough audiences ... [Tarantino] realized that he needed to give the audience permission to laugh," I’m like, you’re not telling me what he thought; at best, you’re telling me what _you_ think _he_ though — then again, that’s par for the course in a documentary where everything, regardless of whether the source is trustworthy or not, is secondhand information. In consequence, Tarantino is not there to explain the actions that led him to almost killing Uma Thurman and apologize for them — not that he needs to, though; since this is a Quentin lovefest, the blame somehow gets shifted to Harvey Weinstein, which is a bad move even if Weinstein is bad himself; blame the man, and rightfully so, for the crap he’s done (god knows there’s plenty of that), nor for the crap he didn’t do just, especially not just so you can get your golden boy off the hook. At one point, to illustrate Tarantino’s infectious enthusiasm, Waltz says "It's like going to a whore house to get infected with the syphilis." I’m sure it sounded better in his head, but this ill-conceived simile unwittingly makes a good point. I’m reminded of Doctor Faustus, a novel by Waltz’s compatriot Thomas Mann, whose hero literally and willingly contracts syphilis because he equates madness with artistic genius; the ensuing progressive disease reduces him to an infantile state in which he lives out the remainder of his short life under the care of his relatives. I’m going to go out on a limb and assume that Tarantino doesn’t have syphilis — but then, what’s his excuse?
Marjorie grew up in Winchelsea in country Victoria, Australia, dreaming of becoming an opera star like Dame Nellie Melba. In 1928 she went to Paris to study opera without knowing a word of French and having never heard of Richard Wagner. In 1941, at the height her success, she was tragically cut down by polio and became completely paralysed. With the help of Australian nurse, Sister Kenny, Marjorie regained movement in her upper body and resumed her career in a wheelchair. In 1955, MGM made a movie of her life, "Interrupted Melody", starring Eleanor Parker and Glenn Ford, which won an Academy Award.
A short film that follows key figures of the London kink scene on an exploration into BDSM and the notorious fetish event Klub Verboten. The film touches upon themes of psychology, trauma, LGBTQ+ rights and black representation.
William Shatner performs a concert of biographical songs that take the audience into the reality of his life and career: from STAR TREK to BOSTON LEGAL. Shatner sings in front of a live audience with Ben Folds, Brad Paisley and Joe Jackson. Leonard Nimoy, Patrick Stewart, Kate Mulgrew and Candice Bergen make cameos.
Rolland, a 70 year-old man, exiled by his family due to his sexual orientation, makes peace with the past by finding himself in a small ghost town in the western part of Jalisco, San Sebastián del Oeste. Almost 40 years later, he wants to go back to his hometown, try to regain his daughter's love and be a part o his granddaughter's life.
Lost and Found depicts a life of a man with no homeland. 10 years ago Konstantin G fled the persecutions of homosexuals from Moscow to Finland. He lives now in Helsinki, living the different roles of his life: he is a nurse and a friend of the aged, a bright personality of the nightlife in Helsinki's gay-world, a solitary figure of the Russian community and the Orthodox Church, and as well as an intensive cabaret performer. Film is a mosaic-like journey to the loves and lives of Konstantin, where poems, songs and encounters form a picture of one passionate and unusual life. In the roles of his own life Konstantin Gontcharev.
Since the beginning of her career, Sinéad O’Connor has used her powerful voice to challenge the narratives she was surrounded by while growing up in predominantly Roman Catholic Ireland. Despite her agency, depth and perspective, O’Connor’s unflinching refusal to conform means that she has often been patronized and unfairly dismissed as an attention-seeking pop star.
At the age of 91, Mel Brooks is unstoppable, with his musical "Young Frankenstein" opening to great critical acclaim in London in late 2017. Alan Yentob visits Mel at home in Hollywood, at work and at play.
This 150-minute documentary, directed by Nobuhiko Ôbayashi on the set of Akira Kurosawa's Dreams, features behind-the-scenes footage and interviews with cast and crew.