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To say Dutch audiences in the 30s loved **_De Kribbebijter_** would be an understatement: the movie stayed in theaters from july 1935 to december 1942, packing full houses until the very end of its run. International critics seemed not to understand what exactly made this Dutch comedy so special, but when one takes a closer look at the cinematic climate in the Netherlands in those days, they will find that the Kribbebijter-madness made perfect sense. In the mid-thirties, the most popular movie genre in the Netherlands was that of the so-called _'Jordaan-film'_; jolly musicals with a simple, predictable plot and catchy songs, always set in the Amsterdam 'Jordaan' area and often starring Dutch variety icons like Louis Davids, Fien de la Mar and Sylvain Poons. But even though films like _De Jantjes_, _Bleeke Bet_ and _Het Leven is Niet Zoo Kwaad_ were enjoyable and full of talented performers, the Jordaan-films were also very much seen as a crowd-pleasing, often clumsily made cinematic equivalent of junkfood. Hollywood movies on the other hand were often too melodramatic and self-important to please the phlegmatic Dutch (_Doe maar gewoon, dan doe je al gek genoeg..._). By 1935, Jordaan-film-fatigue was setting in — the last true Jordaan film, _Oranje Hein_, would be released in 1936 — and Dutch audiences were longing for something closer to the coherent plot structures of Hollywood, but with that unmistakably Dutch combination of abstemious downplaying and theatrical folly. What they got was **_De Kribbebijter_**. Needless to say, they were pleased. While retaining the romantic entanglements of the Jordaan-films, the storyline of De Kribbebijter has an un-Dutch sense of coherence; it does not derive its jolly fun from intermezzo's or random jokes, but rather from cleverly written setpieces and inspired comedic performances by theatre powerhouses Cor Ruys, Louis de Bree and Louis Borel especially. The acting is — apart from an astoundingly hammy Mary Dresselhuys — not as wacky as the Jordaan-films, and not nearly as melodramatic and overly sentimental as most 30s Hollywood productions. Visually and technically the directing is so-so, but unlike most Dutch movies at the time, the camera was dynamic enough not to make it feel like filmed theatre. In short: **_De Kribbebijter_** is a unique picture; unique in being very Dutch in its approach, but also very non-Dutch in its execution. It's a movie I enjoyed immensely, and I hope a subtitled version will be released soon so foreign cinephiles can enjoy it as well!
Nic (Glenn Morshower), a devoted father, husband, and friend with a passion for fishing and bowling, had the perfect life until his wife left after they became empty nesters, leaving him heartbroken. However, his world takes a hilarious turn when he secretly starts dating his best friend's (Kevin Farley as Pastor Kris) sister, leading to uproarious complications. This heartwarming comedy-drama follows Nic as he navigates the aftermath of his wife's departure, discovering the transformative power of love, friendship, and laughter in unexpected places, all while cherishing his favorite pastimes of fishing and bowling. Actor/Comedian Gary Valentine plays the role of Spike, Nic's high school rival.
Journalist Fred Flarsky reunites with his childhood crush, Charlotte Field, now one of the most influential women in the world. As she prepares to make a run for the Presidency, Charlotte hires Fred as her speechwriter — much to the dismay of her trusted advisers.
The happy lives of three best friends from school are brutally upended when Hei breaks up with her fiancé. High flyer Kimmy and director May close ranks to help a devastated Hei move on, but she clings to her old feelings despite meeting a highly eligible prospect. Whilst May considers leaving the film set to travel the world with a free spirited musician; rivalry over the same guy threatens to tear Kimmy and May apart. An unexpected, shocking incident provides a climactic test. Can the girls keep their friendship together?
Prohibition is ending so bootlegger Bugs Ahearn decides to crack California society. He leases a house from down-on-her-luck Ruth and hires her as social secretary. He rescues Polly Cass from a horsefall and goes home to meet her dad who sells him some phony stock certificates. When he learns about this he sends to Chicago for mob help.
The two servants take Ahmed to the airport on his way to England, the plane breaks down and Ahmed returns to his palace knowing that they have turned it into a hotel they rent to tourists, the two servants know about it, so they change everything but after it is too late.
Eva Dandridge has been in charge of her younger sisters ever since their parents died many years ago. She is a very uptight young woman who constantly meddles in the affairs of her sisters and their significant others. Her brothers-in-law, who are tired of Eva interfering in their lives, decide to set her up with someone so she can leave them alone. They end up paying Ray, the local "playboy," $5,000 to date her. The plan goes by smoothly, but trouble comes when Ray actually falls in love with Eva.
Singer-songwriter Winslow Leach seeks revenge on the nefarious music producer Swan, who steals both Winslow's music and his favorite singer for the grand opening of his new rock palace, the Paradise.
Faerie Tale Theatre's "Cinderella" more than lives up to the series' stellar legacy of creative fairytale adaptations. Featuring a cast which includes Jennifer Beals, Jean Stapleton and Matthew Broderick it shines with intelligence and romance. It even subtly improves on the Disney classic by giving the prince a proper name; that of Henry. Jennifer Beals does admirable work as the title heroine, humanizing(as much as she can)one of the archetypal figures in mythical storytelling. Matthew Broderick infuses Prince Henry with undeniable charm while still maintaining a palpable shyness which perceptively suits the character as he finds true love. Jean Stapleton's boisterous Fairy Godmother befits the character's role as an agent for dynamic change in the story.
Jackie, President and CEO of Air Cruz, runs a tight ship in her business, including a rigid anti-fraternization policy for all her employees. When a new sexy lawyer begins working for her, that policy becomes very tested.
When Carmine “The Beans” Pasquale is nabbed by the FBI, he decides to testify against his mafia boss and go into the Witness Relocation Program with his wife Gina and son Vincent. Now known as George, Linda and Patrick Cheeseman, the Pasquale family is sent to suburban Utah to begin their new life. But can the “Cheesemans” survive in a world where everyone is Mormon, all coffee is bad and scrapbooking reigns supreme?
Two down on their luck men try to kidnap a wealthy businesswoman's dog to demand a hefty ransom from her. But things go haywire when the dog goes missing.