Sebastian 2024 - Movies (Oct 2nd)
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A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
Red One 2024 - Movies (Feb 25th)
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Hellboy The Crooked Man 2024 - Movies (Feb 25th)
Eric Clapton Unplugged… Over 30 Years Later 2025 - Movies (Feb 25th)
Matthew Perry A Hollywood Tragedy 2025 - Movies (Feb 25th)
Take That This Life – Live In Concert 2024 - Movies (Feb 25th)
Kraven the Hunter 2024 - Movies (Feb 25th)
Den of Thieves 2 Pantera 2025 - Movies (Feb 24th)
Cellphone 2024 - Movies (Feb 24th)
Into the Deep 2025 - Movies (Feb 24th)
Gladiator II 2024 - Movies (Feb 24th)
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Veselka The Rainbow on the Corner at the Center of the World 2024 - Movies (Feb 23rd)
Monster Mash 2024 - Movies (Feb 23rd)
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Sebastian 2024 - ()
Hounds of War 2024 - ()
A Quiet Place Day One 2024 - ()
Cabrini 2024 - ()
Red One 2024 - ()
Heretic 2024 - ()
Hellboy The Crooked Man 2024 - ()
Eric Clapton Unplugged… Over 30 Years Later 2025 - ()
Matthew Perry A Hollywood Tragedy 2025 - ()
Take That This Life – Live In Concert 2024 - ()
Kraven the Hunter 2024 - ()
Den of Thieves 2 Pantera 2025 - ()
Cellphone 2024 - ()
Into the Deep 2025 - ()
Gladiator II 2024 - ()
Sisterhood Inc. 2025 - ()
Bottom Feeders 2024 - ()
Veselka The Rainbow on the Corner at the Center of the World 2024 - ()
Monster Mash 2024 - ()
Azrael 2024 - ()
When I come across a film that’s the cinematic equivalent of witnessing the emperor’s nakedness, I feel compelled to shout it from the rooftops, something I would readily do with regard to this latest comedy-drama from director Kelly Reichardt. This plodding, insular, minimalist, frequently inscrutable offering tells the “story” (if it can even be called that) of a Portland ceramic sculpture artist (Michelle Williams) struggling to create her works for an upcoming gallery show when faced with the distracting burdens of mundane domestic crises and incendiary but largely unexplained family issues. However, little happens here, and the narrative is more of a showcase for the movie’s artwork than a vehicle with a definable plot, a problem further enhanced by a lack of any meaningful back story and solid character development (I guess that what they mean by “nuanced”). Indeed, one can tell when a release like this is truly in trouble when its most interesting and best defined characters are a housecat and an injured pigeon. The picture’s feeble attempts at humor nearly always fall flat, too, most of which are drier than dust (there’s subtle and then there’s inconsequential). It really troubles me when I see a seriously undercooked production like this undeservedly becoming widely acclaimed with over-inflated accolades. I’ve found this also to be the case with many of this filmmaker’s other works, but “Showing Up” represents a new low in her filmography. Not even the award-winning ensemble cast, with the likes of Williams, Hong Chau, Judd Hirsch, Amanda Plummer and Maryann Plunkett – the picture’s only noteworthy asset – can save this one from its own inherent failings. Experimental cinema is one thing, but unfocused, pointless, stream of consciousness filmmaking is something else entirely.
Try as I might,I just don't get Michelle Williams' style of rather moody and laconic delivery. She just always underwhelms me, and here is no different. This time she is "Lizzy" whose cat has an altercation with a pigeon which she chucks out of the door only for it to be rescued by her neighbour/landlord "Jo" (Hong Chau). Now she seems much more concerned about this rat with wings than she does with her lodger's frustrating lack of hot water. Anyway, pretty soon the pair are sharing the task of helping it recover the use of it's wing whilst "Lizzy" gets to grips with a forthcoming exhibition of her sculptures. That's the first ten minutes, thereafter we head down a more familiar dramatic route with a bit of a (quite entertaining) disaster then some family baggage to be dealt with along the way. For me, the undoubted star of this overlong and slightly repetitive story is the bird. It appears much more savvy of the unfolding narrative and appreciative of the path it was going to undoubtedly take than either of the lead actors. It's decently put together this, but the whole thing seems to lack much point or purpose. It suffers from a distinct lack of realism or relevance and though it's never boring, it is pretty humourless and has little memorable enough to merit recommending a cinema viewing.
Dumped over a video he made to amuse his ailing dad, a heartsick Jérémy hatches an elaborate scheme to win back his superhero-loving girlfriend, Lola.
A retelling of the life of the celebrated 17th-century Baroque painter Michelangelo Merisi da Caravaggio through his brilliant, nearly blasphemous paintings and his flirtations with the underworld.
As a little girl, Federica fantasized about having beautiful long hair that would grow back as soon as she cut it, about never-ending cones of cotton candy and about countless adventures that took her to the far side of the world. Now a charming thirty-something-single woman, Federica's fantasies have evolved, adding lovers, stardom, and motherhood to her waking dreams, where Federica continues to press for her everyday life to be as real as the fantasies that invade her. Unfortunately, Federica's daydreams can only provide a meager distraction from the reality she faces. Her career as a successful playwright is heading south, her boyfriend is pressuring her to start a family, a former lover wishes to rekindle an old affair, her sister is barely talking to her, her brother is self-centered and her loving father is terminally ill. And as if to make matters worse, Federica is rich, too rich, and the guilt that consumes her because of it is pushing her over the edge.
In small town Tennessee, a ne'er-do-well man (Knoxville) wrestling for control over his fading golf club is reunited with his estranged daughter, a 14-year-old musical prodigy.
When her inability to commit leads to a breakup with her girlfriend, opera-loving writer Allegra winds up in the bed of amiable professor Philip. He is so smitten with Allegra that he dumps his lover, Grace, and convinces Allegra to continue their affair. When Allegra meets Grace, sparks fly, and she begins a parallel romance, unaware that her new lover is the woman Philip left to be with her.
Anna Tsuchiya blasts back in time playing an oiran, a top-notched geisha of the Edo period’s Yoshiwara District, navigating brothel politics while trying to cling to the man she loves.
High school student Wendy has an odd relationship with her five friends: They're openly sexual with each other, swapping partners every week. But this is all thrown into turmoil when she meets Sean, a new student in school who has a crush on her. Wendy wants to be with Sean, but doesn't want to disappoint her friends, whom she has known since grade school. When she does decide to leave them, her best friend, Billie, threatens revenge.
An unusual explorer named Gum and his kindly niece adopt three orphans - Pauline, Petrova and Posy - and raise them as sisters in 1930s London. But the girls must fend for themselves when Gum doesn't return from one of his adventures. Together, they nurture their passions for acting, aviation and ballet in this charming TV adaptation of Noel Streatfield's novel.
An anthropology student exploring the nature of prostitution is drawn deeper into that profession than she ever expected.
Utilizing the 1920s jazz vocals of Annette Hanshaw, the epic Indian tale of exiled prince Ramayana and his bride Sita is mirrored by a spurned woman's contemporary personal life, and light-hearted but knowledgeable discussion of historical background by a trio of Indian shadow puppets.
Eleven-year-old Monica Shah is a brainy schoolgirl whose science fair project about growing raspberries becomes a touching emotional crusade. After her dad leaves and her mother falls into a funk, Monica decides it's her job to rescue the family.