Sapien 2024 - Movies (Sep 21st)
The 13th Summer 2024 - Movies (Sep 21st)
From Russia with Lev 2024 - Movies (Sep 21st)
Despicable Me 4 2024 - Movies (Sep 21st)
Late Night with the Devil 2023 - Movies (Sep 21st)
Kingdom of the Planet of the Apes 2024 - Movies (Sep 21st)
Curse of the Sin Eater 2024 - Movies (Sep 21st)
Head Over Heels 2024 - Movies (Sep 21st)
A Different Man 2024 - Movies (Sep 21st)
A Mistake 2024 - Movies (Sep 21st)
Never Let Go 2024 - Movies (Sep 21st)
The Shade 2023 - Movies (Sep 21st)
The Demon Disorder 2024 - Movies (Sep 21st)
The Thicket 2024 - Movies (Sep 21st)
Aliens Expanded 2024 - Movies (Sep 21st)
Al Fayed Predator at Harrods 2024 - Movies (Sep 20th)
Sorority Sisters from Space 2023 - Movies (Sep 20th)
Last Straw 2023 - Movies (Sep 20th)
Omni Loop 2024 - Movies (Sep 20th)
This Time Next Year 2024 - Movies (Sep 20th)
His Three Daughters 2023 - Movies (Sep 20th)
WWE SmackDown - (Sep 21st)
Epleslang - (Sep 21st)
James Martins Saturday Morning - (Sep 21st)
Tomorrows World Today - (Sep 21st)
Symons Dinners Cooking Out - (Sep 21st)
Football Focus - (Sep 21st)
Jersey Shore- Family Vacation - (Sep 21st)
Lucky - (Sep 21st)
The Ingraham Angle - (Sep 21st)
The Five - (Sep 21st)
Special Report with Bret Baier - (Sep 21st)
Outnumbered - (Sep 21st)
Jesse Watters Primetime - (Sep 21st)
Gutfeld - (Sep 21st)
Hannity - (Sep 21st)
Love Next Door - (Sep 21st)
Saturday Kitchen Best Bites - (Sep 21st)
John and Lisas Weekend Kitchen - (Sep 21st)
Love After Lockup - (Sep 21st)
The Art of Film with Ian Nathan - (Sep 21st)
I recall hearing murmurs of this film being in production before Covid, and when it came to mind earlier last year, I was saddened to find no news about it. I truly thought it might have been lost in the shuffle. However, to my delight, it wasn’t, and eventually, it received a one-day-only wide theater release I was able to attend. It’s always a pleasure to see a Beatle on the big screen. The biggest shock to me was how well the film was edited. It is filled with its own flavor and personality, seperating it from the various Beatle documentaries that have come before. Dream-like transitions, textures, images, and drawings make the entire thing feel like some sort of joyride. It’s captivating, spellbinding, and simply unique. However, since the film is mostly composed of archival footage, there are obvious manipulations made to the footage in order to colorize it and present the film at a higher quality. Some pieces look washed and unnatural. What’s not tampered with, though, such as various personal pictures and footage of John Lennon presenting on local news and radio stations, are beautiful shots that I had never seen. There were a lot more mentions of Paul McCartney than I expected, and one in particular left my jaw on the floor. The iconic bootleg record, A Toot and a Snore in ’74, which features the last “jam session” of Lennon and McCartney, is not only referenced, but is played, remastered, and even animated! However, what truly amazed me was Pang’s account of Paul pulling John aside and delivering a message from Yoko. Keep an eye out for that scene. The film does end up dragging in the middle, however. My biggest pet peeve with documentaries about Beatle-esque topics is the tendency to lean into that “Beatlemania” hysteria, losing their personality and repeating a story that we all already know if we’re watching their film. “The Lost Weekend: A Love Story” does this, but not nearly as embarrassingly as Disney’s “If These Walls Could Sing” earlier this year. This might be a spoiler, but in the last quarter of the film, we meet present-day May Pang. Her interview is entirely shot in black and white, against a muted background, and is very well done. We linger on her face as she recounts John leaving her to reunite with Yoko, the end of our story. This personal touch adds much more than any archival pictures or footage could have done. We also encounter some outright cringeworthy moments, like the film’s opening line being a question Pang answered on a talk show about ‘making money off of John’. It feels forced and comes across as inappropriate; as these ticket prices were much more than I paid for “Super Mario”. Another wonderful addition to the film is its soundtrack. Apart from the aforementioned tracks from Bowie and Elton, I was pleasantly surprised to hear solo Lennon music, despite knowing that Yoko Ono owns most of John’s publishing. Ono isn’t portrayed very well here, so I’m left wondering if she gave her blessing for songs such as Imagine, Happy X-Mas, and Surprise, Surprise to appear in the film. In conclusion, “The Lost Weekend: A Love Story” is a unique and captivating documentary that offers a fresh perspective on John Lennon’s life through the lens of May Pang’s own eyes. The film stands out with its unique editing, dream-like transitions, and captivating visuals. It’s a welcomed change to the music documentary. I won’t go too in-depth, as I recommend that you all see it for yourselves, but the hug shared, along with the walk off into the sunset at the end, left my heart feeling warm.
The Beatles’ first US concert was watched by a crowd of 8,092 fans at the Washington Coliseum in Washington, DC. The band had traveled from New York to Washington, DC early in the day by rail, as an East Coast snowstorm had caused all flights to be cancelled. The Beatles took to the stage at 8.31pm, and performed 12 songs: ‘Roll Over Beethoven’, ‘From Me To You’, ‘I Saw Her Standing There’, ‘This Boy’, ‘All My Loving’, ‘I Wanna Be Your Man’, ‘Please Please Me’, ‘Till There Was You’, ‘She Loves You’, ‘I Want To Hold Your Hand’, ‘Twist And Shout’ and ‘Long Tall Sally’.
No musical group has had as profound an impact on pop music as The Beatles. Tony Palmer's groundbreaking documentary gives us an intimate look at one of the most influential groups in musical history.
Written in 1967, Sgt. Pepper’s was the world’s first concept album. The Beatles went into the studio, enthusiastically embracing the possibilities for experimentation that were blossoming at the time, and with no intention of playing the album live. Firstly, because they just didn’t feel like it (due to the hordes of screeching fans), but also because it was music that supposedly couldn’t be performed on stage, as it was too complicated. But that music just had to be played live at some point! Now The Analogues’ perform this masterwork live in all its analogue glory—an honor for which no effort has been spared with regards to a truckload of wild and wonderful vintage instruments. There’s a sitar and tabla drums for ‘Within You, Without You’, a rare Lowrey keyboard for ‘Lucy in the Sky with Diamonds’; a harp for ‘She’s Leaving Home’, plus, of course, a huge array of strings and horns. This is The Analogue’s quest to faithfully perform Sgt. Pepper’s live!
Johann Sebastian Bach is not only one of the greatest composers of all time, but perhaps also the most mysterious. Who was this inconspicuous man from Thuringia, whose music still deeply touches people from all over the world?
“A burned-out group of Brno intellectuals decides to go to Kolochava in Ukraine to perform ‘A Ballad for a Bandit’ there.” With these words, the author's collective presents their film, in which they use primarily documentary imagery to compose a lyrical grotesque about an epochal trip, which might be their goal. But it doesn't have to be. The main tool of expression here is the film’s edit, which places various shots, statements, and meanings next to each other, often in a sort of productive conflict. Just like in a poem, the “poetic function” of art and its ability to serve as the primary tool for expressing beauty is manifested in full force before our very eyes.
A creative and skilful montage as well as dramatically spot-on sound and music effects are combined in a snappy plot to offer a mordant commentary on the constitutionally enshrined equality of men and women in the GDR. The film was awarded a medal at the 1982 congress of UNICA, the Union Internationale du Cinéma, in Aachen.
Rolling into the village: Circus Hein. Angelika Andrees is interested in the individual acts presented in the ring, but even more in what happens before and afterwards. Or what the audience look like from below, when various bottoms are squashed on the wooden benches. Sometimes there’s clacking and knocking, or the pattering of rain, and in the end, Bob Dylan sings. “Travelling Circus” was made when Andrees was still at the Babelsberg Film Academy. She experiments with different elements, switches tones and thus captures the moods crystallising around the travelling attraction. A portrait emerges, without commentary and with very few, short interview sequences.
In works like “Guide Dog Ruepel” (1962), Bärbl Bergmann was the first feature film director in the GDR to portray children in their often pitiless but also honest dealings with each other, something that was almost impossible in the documentary films of that period. But she also managed to sneak lessons on how to pursue educational goals with creative obstinacy into popular science films. Thus her educational piece about two boys who discover that magic, too, requires hard work, despite its rational approach, is far from disenchanting: The protagonists reach their conclusion via detours that take them through mysterious corridors, furtive looks through keyholes and bewitching dreams.
“Won’t make it today, hope you don’t mind.” A casual call, the husband will be late again, not to be expected before eight. He is an officer in the National People’s Army, still young, but with a lot of postings under his belt, always accompanied by his wife. She has resigned herself to her fate, while he flourishes enviably in his profession. Róża Berger-Fiedler spends most of the time by his side, following him in brisk cuts from appointment to appointment. Talking is required and demanded constantly: to representatives of the Soviet armed forces, young recruits, subordinates. Words come easy to him, but not everything runs smoothly.