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The Girl Who Cried Her Eyes Out 2024 - ()
Clear Cut 2024 - ()
You Gotta Believe 2024 - ()
Wolf Man 2025 - ()
My Divorce Party 2024 - ()
Back in Action 2025 - ()
Henry Danger The Movie 2025 - ()
Alarum 2025 - ()
Ed Hill Stupid Ed 2024 - ()
Alien Rubicon 2024 - ()
Smile 2 2024 - ()
Gabriel Iglesias Legend of Fluffy 2025 - ()
The Substance 2024 - ()
Unstoppable 2024 - ()
Here 2024 - ()
It's tempting to just think of Christopher Plummer as Capt. von Trapp and little else, but a casual glance at his stage credentials illustrate that he was well chosen for his title role in this Shakespearian tragedy. This adaptation also benefits from being a British/Danish co-production so was even filmed in Elsinore, too. You'' probably know the stroy of the eponymous Prince who has lost his father and seen his mother "Gertrude" (June Tobin) remarried to the new king "Claudius" (Robert Shaw). Now he, and his best pal "Horatio" (a passable Michael Caine) must tread a very fine line as they try to get to the truth as guilt, madness and thoughts of revenge are never far away. Though fairly faithful to the bard's original story, this adaptation is much less method than other versions. Plummer's natural style of delivery is convincing as "Hamlet" becomes more and more convinced of his truths, but conflicted as to his solution. Alec Clunes's "Polonius" and the pairing of "Rosencrantz" (David Calderisi) and "Guildenstern" (Bill Wallis) - which doesn't always work so well on the silver screen, all work to ramp up the sense of menace and mayhem as events head to their rather tragic, if befitting, denouement. There's a powerful cameo from Roy Kinnear as the gravedigger. A comedy actor by trade but so often really effective in the role of the pivotal or fool type of ostensibly side character whose words command special attention. The star here, for me anyway, is Robert Shaw. His performance as the King is subtle and powerful, his characterisation odious yet at times he does manage to elicit just the vaguest hint of sympathy as his step-son becomes much less guarded about his accusations. It's also worth noting the efforts from Jo Maxwell Muller whose "Ophelia" is delicate and enthralling - especially in her last scenes. It is abridged, but not so that you'd would necessarily notice and certainly not really to the detriment of the story. If you've never read the play, then this might just encourage you.
Cecilie and Joachim are about to get married when a freak car accident leaves Joachim disabled, throwing their lives into a spin. The driver of the other car, Marie, and her family don’t get off lightly, either. Her husband Niels works in the hospital where he meets Cecilie and falls madly in love with her.
Kresten, newly wed, is on the threshold of a great career success in his father-in-law´s company. But when the death of his own father takes him back to his poverty-stricken childhood home, far out in the country, his career plans fall apart. For one thing he has to deal with his loveable, backward brother, who is now all alone; for another, he meets a stunning woman who comes to the farm as a housekeeper, in disguise of her real profession as a call-girl.
Henry IV usurps the English throne, sets in motion the factious War of the Roses and now faces a rebellion led by Northumberland scion Hotspur. Henry's heir, Prince Hal, is a ne'er-do-well carouser who drinks and causes mischief with his low-class friends, especially his rotund father figure, John Falstaff. To redeem his title, Hal may have to choose between allegiance to his real father and loyalty to his friend.
Two minor characters from the play "Hamlet" stumble around unaware of their scripted lives and unable to deviate from them.
New York, 1930. Following a decade of creative explosion, the Harlem Renaissance is starting to feel the bite of the Great Depression. In the face of hardship and dwindling opportunity, Angel and her friends battle to keep their artistic dreams alive. But, when Angel falls for a stranger from Alabama, their romance forces the group to make good on their ambitions, or give in to the reality of the time. Lynette Linton directs a startling revival of this extraordinary play by Pearl Cleage.
‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’ After three tours in Afghanistan, Jess finally returns to Florida. In a small town on the Space Coast, as the final shuttle is about to launch, Jess must confront her scars – and a home that may have changed even more than her. Experimenting with a pioneering virtual reality therapy, she builds a breath-taking new world where she can escape her pain. There, she begins to restore her relationships, her life and, slowly, herself.
Eddie is a principled man, with a wife, a daughter and a mortgage and leads a seemingly stable and happy life as a government land assessor. Yet when the forces of economic and social change threaten this, he realises just how fragile his reality and security is. After losing his job, he checks his bank balance and finds he has only 'three dollars' to his name.
Half-caste bandit Omkara Shukla abducts his lady love, Dolly Mishra, from her family. Thanks to his cleverness, he gets away with the kidnapping. A conspiracy, however, forms against him when he denies his right-hand man, Langda Tyagi, a promotion. Ultimately, this plot threatens not only his relationship with Dolly, but their lives and those of their associates as well.
Macbeth, loyal to his crime boss, Duncan, is told by witches that he will one day take over. Driven by their prophecy, he and his wife plot to kill Duncan, and takes the leadership of the gang for himself. Maintaining his power will require more murder and violence, finally driving his surviving enemies to unite and destroy him. A sexy, high octane retelling of this classic story.
National Theatre Live’s 2010 broadcast of Alan Bennett’s acclaimed play The Habit of Art, with Richard Griffiths, Alex Jennings and Frances de la Tour, returns to cinemas as part of the National Theatre's 50th anniversary celebrations. Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by, amongst others, their future biographer and a young man from the local bus station. Alan Bennett’s play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art.