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***“Braveheart” in the Libyan desert with Quinn, Reed and Steiger*** After twenty years of failing to remove Bedouin rebels during the Italian colonization (aka invasion) of Libya, Mussolini (Rod Steiger) sends formidable General Graziani (Oliver Reed) in 1931 to take care of the problem. Anthony Quinn plays the titular protagonist and leader of the freedom-fighting Libyans. Did you ever wonder why “Lion of the Desert” (1980) is so obscure? It cost $35 million, has three big name stars, was shot on location and is epic in scope, but it only grossed $1 million worldwide and sits alongside other big money losers of the time period, like “Heaven's Gate” (1980) and “Inchon” (1981). Was it because it was supported by Gaddafi? Was it because it portrayed the Italians in a bad light and freedom-fighting Libyans as the protagonists? Or maybe it simply lacked the pizzazz to draw audiences. For me, it’s the last one. Don’t get me wrong, there’s a lot of good in this historical film and the movie perks up whenever Steiger and Reed are on the screen; Quinn too, but less so. And you can’t beat the authentic locations and action/adventure; the cliff-gorge battle, for instance, is a treat. Yet there’s something meh about the overall proceedings. It lacks the artistic style of “Lawrence of Arabia” (1962). It doesn’t help that the first act is relatively tedious and the action doesn’t kick-in until the 40 minute mark. Since the movie lights up whenever Reed and Quinn are on the screen (Steiger’s Mussolini being a minor character), the script should’ve focused more on their characters. When these two opponents finally confront each other at the end it’s gripping drama. But the rest of the movie isn’t so compelling, disregarding the positives noted. Furthermore, the propagandizing Libyan bias is laughable. Still, if you like flicks like “Lawrence of Arabia” and “Braveheart” (1995), it’s worth checking out. The movie runs 2 hours, 54 minutes and was shot in Libya and Italy. GRADE: C+
This is a curious hybrid of a film - it brings together some elements of "Gandhi" (1982) , "Khartoum" (1966) and even "Spartacus" (1960) to illustrate a theatre of war for Fascist colonialism of which I was largely unfamiliar. Rod Steiger (Mussolini) has decided that Italy must get in on the act of colonial powers in North Africa - and deploys General Graziani (Oliver Reed) to cement their invasion of modern day Libya. His job is continually thwarted, however, by the tenacious and shrewd Omar Mukhtar (Anthony Quinn), who leads an effective resistance - and has done for some twenty years. Despite facing overwhelming technical superiority, Mukhtar continues to defy his would-be overlord and the film depicts many a scenario as his people refuse to capitulate. Oliver Reed only really had one style of acing, and it wasn't the best - but he is somewhat more in his element as this calculating, at times brutal, soldier. The action scenes are well made; the battle scenes realistic and there is plenty of grand cinematography (some from Libya, itself) to help his character's megalomania develop nicely. Quinn features sparingly, his sheer presence does most of his acting, for he has few lines, and there are also a few almost compassionate scenes from Raf Vallone (Col. Diodiece) as history takes an inevitable course. The dialogue is what lets this down, it's rather stiltedly written and barely audible at times, but at almost three hours is marries elements of adventure and history quite efficiently. Worth a watch...
When David Smallbone's successful music company collapses, he moves his family from Australia to the United States in search of a brighter future. With nothing more than their six children, their suitcases, and their love of music, David and his pregnant wife Helen set out to rebuild their lives from the ground up. Based on a remarkable true story, a mum's faith stands against all odds; and inspires her husband and children to hold onto theirs.
In 1943, as Hitler continues to wage war across Europe, a group of college students mount an underground resistance movement in Munich. Dedicated expressly to the downfall of the monolithic Third Reich war machine, they call themselves the White Rose. One of its few female members, Sophie Scholl is captured during a dangerous mission to distribute pamphlets on campus with her brother Hans. Unwavering in her convictions and loyalty to the White Rose, her cross-examination by the Gestapo quickly escalates into a searing test of wills as Scholl delivers a passionate call to freedom and personal responsibility.
In October 1991, a confluence of weather conditions combined to form a killer storm in the North Atlantic. Caught in the storm was the sword-fishing boat Andrea Gail.
After World War II, a woman refuses to believe her husband, missing on the Russian front, is dead. Flashbacks reveal their brief courtship and marriage. Years later, she travels to Russia with his photo, determined to find him. What will she discover?
It is the dawn of World War III. In mid-western America, a group of teenagers band together to defend their town—and their country—from invading Soviet forces.
In the years before World War II, a penniless Japanese child is torn from her family to work as a maid in a geisha house.
Schoolteacher Bertram Cates is arrested for teaching his students Darwin's theory of evolution. The case receives national attention and one of the newspaper reporters, E.K. Hornbeck, arranges to bring in renowned defense attorney and atheist Henry Drummond to defend Cates. The prosecutor, Matthew Brady is a former presidential candidate, famous evangelist, and old adversary of Drummond.
Ari Ben Canaan, a passionate member of the Jewish paramilitary group Haganah, attempts to transport 600 Jewish refugees on a dangerous voyage from Cyprus to Palestine on a ship named the Exodus. He faces obstruction from British forces, who will not grant the ship passage to its destination.
The film was directed by Giuliano Cenci with assistance from his brother Renzo. During production, Carlo Collodis grandchildren Mario and Antonio Lorenzini were consulted. The subtle movements made by fidgeting children whilst speaking or under scrutiny were incorporated into Pinocchios movements, particularly when he lies to the Fairy with the Turquoise Hair over the fate of his gold coins. For the design of the Fairy, Italian portrayals of the Blessed Virgin Mary in art were used as starting points.
A Victorian surgeon rescues a heavily disfigured man being mistreated by his "owner" as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick (called John Merrick in the film), a severely deformed man in 19th century London.
Mexican beauty Camilla hopes to rise above her station by marrying a wealthy American. That is complicated by meeting Arturo Bandini, a first-generation Italian hoping to land a writing career and a blue-eyed blonde on his arm.