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Bruno Ganz is on top form in this characterful study of desire - physical and spiritual. He is "Daniel" an angel invisible to all but his own kind (and to the innocence of children) who finds himself, with his colleague "Cassiel" (Otto Sander) policing the city of Berlin at the end of the second world war. Needless to say, there are no shortages of claimants on their compassion and they do what they can to help assuage the difficulties faced by the desperate and the struggling. When he alights on circus trapeze artiste "Marion" (Solveig Dommartin) though, "Daniel" starts to have doubts. His entire raison d'être starts to become compromised as he realises that there are benefits to being mortal, and human, and that being in love is probably the greatest of these. Up until this moment, his life has been intangible and he determines that must change. It's risky though... There are no guarantees! It's a bit of a slow burn so don't expect a great deal to happen quickly. It is, however, quite a potent tale of realising priorities and dealing with demons - some more apparent than others - told in a gradually accumulating, effective and emotionally charged manner. It is not in the least sentimental but just as the angels observe their subjects, we are invited by Wim Wenders to do the same with them - and it's surprisingly effective to watch as some of the questions and challenges facing him could easily be applied to those in the audience. The monochrome photography is also striking and well authenticates the scenario of a desolate and despairing post war environment. Perhaps serendipity takes too big an hand at the end, but... you decide.
**Essay on Sleepiness.** When I decided to see this film, I did it for three reasons: the first is the participation of Bruno Ganz, a German actor that I appreciate and that I started to like after seeing him do excellent work in other films such as “The Fall”; the second is the enormous consideration in which this film has been held by a very high number of distinguished critics and specialists; the third is the fact that it's the first West German film I've seen in my life (as far as I know and that I'm aware of). The script, however, couldn't be more tasteless than it turns out to be: the film begins with the turns and wanderings of two angels through the streets and places of West Berlin, observing people's daily lives. Damiel and Cassiel, each in their own way, are interested in human beings. They cannot be seen, except for children, and for a single individual who manages to talk to them, and one of them ends up deciding to become a human being and live a mortal life, on Earth, after falling in love with a woman. circus trapeze artist. In fact, there is no lack of television or literary material about angels who fall in love with humans or who, for other reasons, give up their angelic life and become humans. It seems that there is, among us, a desire to humanize these creatures. In the wake of all this, the film makes a series of philosophical and metaphysical considerations that will only truly interest philosophers, or theologians, or writers in general. Wim Wenders is a director who appreciates this type of ultra-intellectual cinema, made for artistic cycles and festivals, never for the general public, who find it a good substitute for sleeping pills. Personally, I don't like this type of cinema, even though I recognize its artistic merit. Bruno Ganz, on his journey, awakens to the beauty of humanity in an elegant way that borders on poetry. He sees beauty in the most trivial things, which we usually don't, not without an extreme artistic sensitivity that the common individual rarely cultivates. The actor couldn't be more competent in the work he does, and is skilfully assisted by Otto Sander, who has another angelic role. Solveig Dommartin and Peter Falk are also very good additions, with time to show value. The problem with this film is really the excessively slow and cold way in which it unfolds and gradually exposes itself. The pace of the film is so slow that it becomes boring, and I confess that I didn't pay much attention to the permanent monologues. Things improve a lot when Falk enters the scene, giving movement to a bloodless and soporific plot. The closing credits, in German expressionist style, make a direct allusion to the cinematographic past of the city, and of the country, something that Wenders may have done as a tribute, or asserting himself as a continuer of the legacy of the past (which is not as modest as the first idea). Almost the entire film is shot in black-and-white, with cinematography that is very well achieved and worthy of merit. Colors are introduced later, becoming more associated with humanity, that is, with the way we see the world we live in. Original, well thought out. The film does not have a great soundtrack, betting more on monologues and very boring dialogues. Furthermore, the film is practically a city tour of West Berlin, a metropolis that has changed radically in recent years, as we know. The wall is there, even though it was purposely built for the movie and is not the real thing.
John Constantine has literally been to Hell and back. When he teams up with a policewoman to solve the mysterious suicide of her twin sister, their investigation takes them through the world of demons and angels that exists beneath the landscape of contemporary Los Angeles.
Dashing legionnaire Rick O'Connell stumbles upon the hidden ruins of Hamunaptra while in the midst of a battle to claim the area in 1920s Egypt. It has been over three thousand years since former High Priest Imhotep suffered a fate worse than death as a punishment for a forbidden love—along with a curse that guarantees eternal doom upon the world if he is ever awoken.
20 volunteers agree to take part in a seemingly well-paid experiment advertised by the university. It is supposed to be about aggressive behavior in an artificial prison situation. A journalist senses a story behind the ad and smuggles himself in among the test subjects. They are randomly divided into prisoners and guards. What seems like a game at the beginning soon turns into bloody seriousness.
In 1983 East Berlin, dedicated Stasi officer Gerd Wiesler begins spying on a famous playwright and his actress-lover Christa-Maria. Wiesler becomes unexpectedly sympathetic to the couple, and faces conflicting loyalties when his superior takes a liking to Christa-Maria.
Throughout his life Edward Bloom has always been a man of big appetites, enormous passions and tall tales. In his later years, he remains a huge mystery to his son, William. Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures.
Scout Finch, 6, and her older brother Jem live in sleepy Maycomb, Alabama, spending much of their time with their friend Dill and spying on their reclusive and mysterious neighbor, Boo Radley. When Atticus, their widowed father and a respected lawyer, defends a black man named Tom Robinson against fabricated rape charges, the trial and tangent events expose the children to evils of racism and stereotyping.
Tells the life story of Danish author Karen Blixen, who at the beginning of the 20th century moved to Africa to build a new life for herself. The film is based on her 1937 autobiographical novel.
Crotchety retired doctor Isak Borg travels from Stockholm to Lund, Sweden, with his pregnant and unhappy daughter-in-law, Marianne, in order to receive an honorary degree from his alma mater. Along the way, they encounter a series of hitchhikers, each of whom causes the elderly doctor to muse upon the pleasures and failures of his own life. These include the vivacious young Sara, a dead ringer for the doctor's own first love.
Headstrong yet aimless, Will Hunting has a genius-level IQ but chooses to work as a janitor at MIT. When he secretly solves highly difficult graduate-level math problems, his talents are discovered by Professor Gerald Lambeau, who decides to help the misguided youth reach his potential. When Will is arrested for attacking a police officer, Professor Lambeau makes a deal to get leniency for him if he gets court-ordered therapy. Eventually, therapist Dr. Sean Maguire helps Will confront the demons that are holding him back.
One day at work, unsuccessful puppeteer Craig finds a portal into the head of actor John Malkovich. The portal soon becomes a passion for anybody who enters its mad and controlling world of overtaking another human body.
John Shaft is back as the lady-loved black detective cop on the search for the murderer of a client.