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Celebrity Catchphrase - (Sep 7th)
Casualty - (Sep 7th)
The Voice UK - (Sep 7th)
The Kitchen - (Sep 7th)
Symons Dinners Cooking Out - (Sep 7th)
Made in Korea- The K-Pop Experience - (Sep 7th)
MotoGP Unlimited - (Sep 7th)
James Martins Saturday Morning - (Sep 7th)
Romance in the House - (Sep 7th)
Love Next Door - (Sep 7th)
Trucking Hell - (Sep 7th)
The Chase - (Sep 7th)
Luxury Escapes- The Worlds Best Holidays - (Sep 7th)
Deal or No Deal - (Sep 7th)
Whose Line Is It Anyway - (Sep 7th)
Bargain-Loving Brits in the Sun - (Sep 7th)
The One Show - (Sep 7th)
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The Chase Australia - (Sep 7th)
The Last Leg - (Sep 7th)
Apollo 10½ is vintage Richard Linklater — a rotoscopic, wistful, Wonder Years/A Christmas Story slice-of-life set in a very specific time and place, and yet uncannily atemporal and universal (Bewitched, Get Smart, Batman, Gilligan, I Dream of Jeannie, The Addams Family, Hogan’s Heroes, etc., along with a few classic films and historically relevant newscasts, are briefly yet lovingly recreated). The Moon landing itself retains much of its impact even as a rerun; one of the relatively very few historical milestones that we can actually revisit as it happened because, as the movie points out, it “has been played out before our very eyes by this miracle that happily came along at the same time as man’s exploration of space — television.” Of course, nothing can compare to actually watching it live, and in that sense it might be a bit more difficult to connect emotionally, especially for those of us who hadn’t even been born at the time; on the other hand, the film is not about the landing so much as it is about the sense of awe surrounding it — an emotion that any human being who isn’t a hopeless cynic can identify with, and of which the movie has a seemingly endless supply, thanks to its arresting visuals and poignant dialogue. Speaking of visuals, few filmmakers have put rotoscopy to better use than Linklater, and Apollo 10½ is proof that this technology need not be confined to fantasy or science-fiction (the director himself had previously dabbled in the more fanciful possibilities of this aesthetic, with the surreal Waking Life and the dystopic A Scanner Darkly) — and indeed this film could reasonably be described as science-fact. Moreover, and in spite of its space age-mania theme, this is a grounded, down-to-earth story — and that’s precisely why the movie’s only faux pas is a half-baked subplot wherein the nine-year old hero is recruited by NASA to test out an accidentally undersized lunar module (hence the title). Linklater does hint that this could be a figment of the character’s imagination, but it nonetheless sticks out like a sore thumb among the sundry homespun vignettes of life in NASA-adjacent South Houston. The plot point is introduced at the very beginning, and even as the action quickly settles into a comforting pattern of pleasant everyday-ness that is equal parts small town and city of the future, you can’t bring yourself to completely enjoy the full extent of this sweet uneventfulness, dreading in the back of your mind the moment when the script picks up where it left off (admittedly, I’m splitting hairs).
Apollo 10½ is vintage Richard Linklater — a rotoscopic, wistful, Wonder Years/A Christmas Story slice-of-life set in a very specific time and place, and yet uncannily atemporal and universal (Bewitched, Get Smart, Batman, Gilligan, I Dream of Jeannie, The Addams Family, Hogan’s Heroes, etc., along with a few classic films and historically relevant newscasts, are briefly yet lovingly recreated). The Moon landing itself retains much of its impact even as a rerun; one of the relatively very few historical milestones that we can actually revisit as it happened because, as the movie points out, it “has been played out before our very eyes by this miracle that happily came along at the same time as man’s exploration of space — television.” Of course, nothing can compare to actually watching it live, and in that sense it might be a bit more difficult to connect emotionally, especially for those of us who hadn’t even been born at the time; on the other hand, the film is not about the landing so much as it is about the sense of awe surrounding it — an emotion that any human being who isn’t a hopeless cynic can identify with, and of which the movie has a seemingly endless supply, thanks to its arresting visuals and poignant dialogue. Speaking of visuals, few filmmakers have put rotoscopy to better use than Linklater, and Apollo 10½ is proof that this technology need not be confined to fantasy or science-fiction (the director himself had previously dabbled in the more fanciful possibilities of this aesthetic, with the surreal Waking Life and the dystopic A Scanner Darkly) — and indeed this film could reasonably be described as science-fact. Moreover, and in spite of its space age-mania theme, this is a grounded, down-to-earth story — and that’s precisely why the movie’s only faux pas is a half-baked subplot wherein the nine-year old hero is recruited by NASA to test out an accidentally undersized lunar module (hence the title). Linklater does hint that this could be a figment of the character’s imagination, but it nonetheless sticks out like a sore thumb among the sundry homespun vignettes of life in NASA-adjacent South Houston. The plot point is introduced at the very beginning, and even as the action quickly settles into a comforting pattern of pleasant everyday-ness that is equal parts small town and city of the future, you can’t bring yourself to completely enjoy the full extent of this sweet uneventfulness, dreading in the back of your mind the moment when the script picks up where it left off (admittedly, I’m splitting hairs).
Guess I’m a Linklater fan now, I’ve adored all of his features I’ve seen and this is no exception. Kinda ironic that the “10½” part is the weakest aspect of this, the rest of it is such a beautiful and intimate portrait of childhood. Such an intense sense of warmth and memory that I rarely see conjured in film, couldn’t help but be charmed by it. Beautiful movie.
From an early age, songs and fairytales convinced Zelma that Love would solve all her problems as long as she abided by societal expectations of how a girl should act. But as she grew older something didn't seem right with the concept of love: the more she tried to conform, the more her body resisted. A story about the acceptance of the inner female rebellion.
Comic artist Brösel trades a magic pen that helps him come up with funny stories for the promise to fulfill one of Rumpelstiltskin's wishes. The resulting animated films show episodes of the life of Werner, a plumber apprentice and motorbike enthusiast and his friends. They are interspersed with the live-action portions.
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.
Bob Parr has given up his superhero days to log in time as an insurance adjuster and raise his three children with his formerly heroic wife in suburbia. But when he receives a mysterious assignment, it's time to get back into costume.
Kevin, an intelligent guy helps out Maxwell to improve his reading skills. In return, Kevin wants Maxwell to take him out places since he is not authorized to go out. Being the social outcasts of the town, Kevin and Maxwell come to realize that they are similar to each other and accept that they are "freaks" and nothing will stop them.
Suburbia 1967. Eleven-year-old Susan Bradley has only one thing on her mind, and it's not schoolwork. It's Mike Nesmith of The Monkees, the popular pop group made famous in the television sitcom of the same name. Susan, with "boyfriend" Nesmith, lives in a daydream, a sixties riot of psychedelic colors and goofy, soft-focus, teenage-girl love scenes. Her well-meaning parents try to snap her back to reality, but it takes an informative copy of Teen Life to finally open Susan's eyes.
After receiving a package from his grandfather, Ray, a young inventor who lives in England during the mid-19th century, finds himself caught in the middle of a deadly conflict related to a revolutionary advance in steam power.
Charilaos Maraziotis owns a store and owes so much money both to his lenders and to the state, that he is in danger of going to jail. He decides to pretend to be a psychopath and is sent to an asylum. His lenders, upon hearing the news about his mental health, change their attitude towards him and release him from his debts.
A NASA Arctic expedition designed to be the first Martian road trip on Earth becomes an epic two-year odyssey of human adventure and survival.
A group of students with learning disadvantages break into school to erase all grades before their final submission – Ocean’s 11 meets The Breakfast Club.