Love in Focus 2023 - Movies (Jul 27th)
Townhouse Confidential 2023 - Movies (Jul 27th)
Mr. Right 2023 - Movies (Jul 27th)
Alien Apocalypse 2023 - Movies (Jul 27th)
Tuesday 2023 - Movies (Jul 26th)
Sick Girl 2023 - Movies (Jul 26th)
The Garfield Movie 2024 - Movies (Jul 26th)
The Omicron Killer 2024 - Movies (Jul 26th)
Inhuman Kiss The Last Breath 2024 - Movies (Jul 26th)
Visher 2024 - Movies (Jul 26th)
What Lies Under the Tree 2023 - Movies (Jul 26th)
To Kill a Stepfather 2023 - Movies (Jul 26th)
The Girl in the Pool 2024 - Movies (Jul 26th)
Non Negotiable 2024 - Movies (Jul 26th)
House of Gaa 2024 - Movies (Jul 26th)
Deadpool and Wolverine 2024 - Movies (Jul 25th)
The Canterville Ghost 2023 - Movies (Jul 25th)
Aliens Abducted My Parents and Now I Feel Kinda Left Out 2023 - Movies (Jul 25th)
Arctic Armageddon 2023 - Movies (Jul 25th)
Assault on Hill 400 2023 - Movies (Jul 25th)
Transmorphers - Mech Beasts 2023 - Movies (Jul 25th)
All In with Chris Hayes - (Jul 27th)
The Kelly Clarkson Show - (Jul 27th)
Love Island - (Jul 27th)
Terror at 30000 Feet - (Jul 27th)
The Stand Up Sketch Show - (Jul 27th)
The Bold and the Beautiful - (Jul 27th)
The Young and the Restless - (Jul 27th)
The ReidOut - (Jul 27th)
Champions- Full Gallop - (Jul 27th)
Motorway- Hell On The Highway - (Jul 27th)
GRAND SUMO Highlights - (Jul 27th)
The Beat with Ari Melber - (Jul 27th)
Deadline- White House - (Jul 26th)
8 Out of 10 Cats Does Countdown - (Jul 26th)
Gutfeld! - (Jul 26th)
Jesse Watters Primetime - (Jul 26th)
Outnumbered - (Jul 26th)
Special Report with Bret Baier - (Jul 26th)
The Ingraham Angle - (Jul 26th)
Hannity - (Jul 26th)
**French-style grotesque surrealism, in a film with style but no content.** I think I got to know Jean-Pierre Jeunet in the same way as almost everyone who doesn't follow French cinema at the same time: through the film “Amelie”. The film brought the director international and is unanimously considered his greatest and most relevant work. Given how much I liked this movie, I decided to see this one, but my experience was different. If “Amelie” was magical and beautiful, this film is much more uninteresting. It was treated like a surreal nightmare: it's a story about a butcher who occasionally sells human flesh in a dystopian future. Regardless of how much I felt disgusted by the aesthetics adopted in the film and by its bizarre theme, there is no doubt that it was a work with notes of quality: the degradation of buildings and the environment symbolizes or synthesizes the degradation of morals and values. The cacophony of sounds and images, between the dreamlike and the grotesque, is purposeful and intense (for example, that moment when the sound of bed springs where a couple makes love mixes with the sounds of a girl practicing the cello or from another neighbor who paints the ceiling of his apartment). The director's marks of talent, the quality we saw in “Amelie” is here, but distorted and adapted to a much less sympathetic film project. The film has good actors and the performance of each of them helps the film to become a little more palatable. Dominique Pinon stood out the most: he knows how to balance between seriousness and hilarity, and has a body and facial expressiveness that is remarkable. Jean Claude Dreyfus also deserves a positive note, while Marie-Laure Dougnac doesn't seem to me to have anything relevant to do other than appear ethereal, diaphanous as a mirage. Being a film that cares more about style than content, it also presents us with a very sharp and stylized cinematography: I must say that I admired the camera angles and the filming work, quite original, but that I don't particularly like the color, where an ocher tone made the film excessively brown. And despite the efforts, the soundtrack is one of those innocuous elements, which neither enhances nor harms the film because it does not deserve our attention in a relevant way.
I did really quite enjoy this film, but I'll be honest - half the time I had no idea what was going on! From the start I expected Steven Sondheim's "Mrs. Lovett" to be working on her pies downstairs, beneath the shop of "Clapet" (Jean-Claude Dreyfus). They all live in a France where food is very scarce and people have an habit of disappearing without trace! He also owns a rather dilapidated block of flats next door and he needs a janitor. Enter the poor, unsuspecting, "Louison" (Dominique Pinon) who needs a place to stay. He used to be a clown, but now the joke is very much on him as he meets the intimidating "Mlle. Plusse" (Karin Viard) and the escapades begin in earnest. To the chagrin of her father, he quickly falls in love with the daughter of the house "Julie" (Marie-Laure Dougnac) and in order to save their burgeoning romance, she has to seek the assistance of a subterranean section of society called the "Troglodytes" but more resembling a society of oilskin-clad moles. These folks live a scavengers life, ferreting around for grain and corn where they can find it. As "Louison" closes in on the secret of his employer, and his relationship with "Julie" becomes more serious, they must take to the bathroom and hope rescue comes before the hatchet falls a bit too close to home! I don't usually do surreal so well, but this is really quite an enjoyable farce of a film to watch. The characters - well, most of them, have just enough of an anchor in reality to keep it in this dimension; Dreyfus and his sidekick bring quite an entertaining hint of menace and there's a great scenes with Pinon and a knife through his head on a plate! Oddly enough, it does make more sense as it proceeds - it's just not always that obvious! Quirky and entertaining. Give it a go.
Province of Buenos Aires, Argentina, 2101. The world has been ravaged by a biological warfare. A man wakes up in the desert, unable to remember anything of his previous life.
Ingrid becomes obsessed with a social network star named Taylor Sloane who seemingly has a perfect life. But when Ingrid decides to drop everything and move west to be Taylor's friend, her behaviour turns unsettling and dangerous.
It begins with the discovery of the Mungo Skeletons in Australia by Professor Bowler in 1969 and ends with the destruction of the Earth by solar flare in 2039. A unique fusion of science fiction, mysticism, and post-apocalyptic fantasy, The Rare Earth is a compelling drama beautifully shot in the wilds of Australia.
When an exclusive clique of teenage socialites accidentally murder their best friend on the morning of her birthday, the three girls responsible conspire to hide the truth.
Army psychiatrist Colonel Kane is posted to a secluded gothic castle housing a military asylum. With a reserved calm, he indulges the inmates' delusions, allowing them free rein to express their fantasies.
In the far future when the continuity of the history has been lost, humans live in an ever more deteriorating completely artificial and enclosed world. The sea and the sky have disappeared, and the only window to "living" scenery exists in the records from the past, excavated in the relic.The Bureau of Record Excavation is an organization responsible for this task. Ura works for the 92nd office of the bureau. He is absorbed by the restoration of various records and fascinated by world of the past. Riko keeps a little distance to watch him, but averts her eyes from the records, believing that sometimes people just want things to stay the same.Everyone in this world knows that to know the past means to know the misery of this world, the present reality. But one day, Ura restores a strange video...
A young boy tells three stories of horror to distract a witch who plans to eat him.
A lonely boy befriends a stray dog who has a natural talent for basketball and together they experience the highs and lows of life as their friendship remains solid through a series of escapades.