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Lucy Harbin took an axe, gave her husband 40 whacks….. …..when she saw what she had done, she gave his girlfriend 41. Strait-Jacket is produced and directed by William Castle and written by Robert Bloch. It stars Joan Crawford, Diane Baker, Leif Erickson, Howard St. John, Rochelle Hudson and George Kennedy. Music is by Van Alexander and cinematography by Arthur E. Arling. Lucy Harbin (Crawford) has spent 20 years in a mental asylum for the brutal axe murders of her husband and his mistress. Released back into society, Lucy goes to live at the farm of her brother Bill (Erickson), where Lucy's grown up daughter Carol (Baker) also resides. Pretty soon, though, Lucy is plagued by horrible visions and begins to hear upsetting things, and now it seems that the people she is coming into contact with are being brutally murdered….with an axe. Grand Dame Guignol It seems on odd blend on first glance, Oscar winner Crawford paired up with Castle, maestro of the gimmick led movie, producing a film written by Bloch, author of the novel that would become Hitchcock's Psycho. Yet while it's hardly a true horror picture, the kind to have you gnawing away at your nails, it's unashamedly fun whilst carrying with it a bubbling under the surface sense of dastardly misadventure. Sensibly filming it in moody black and white, Castle, who certainly wasn't the most adventurous of directors, did have a sense for tone and an awareness of what worked for his target audience. Strait-Jacket is a solid murder mystery on the page, and on the screen it's coupled with some flashes of axe wielding terror. Having a woman who is the protagonist-who may be the antagonist-also adds bite to Castle's production, but he, and his film, are indebted to Crawford and her wonderful OTT trip into self parody. Joan Blondell was all set to play Lucy Harbin, but an accident at home meant she was unable to fill the role. Castle got lucky, he needed a star, and with Whatever Happened to Baby Jane? Reinvigorating Crawford's career two years previously, Crawford was once again a name actress. Bumping into Crawford at a party, Castle sold the pitch to her, even bluffing her that the part was written with her in mind. It was a goer, but Crawford held sway with all the decisions, including script rewrites and choice of staff to work on the picture with her. It paid off, because after what was largely a trouble free shoot , film was a success and Castle had one of the best films of his career. Here Castle had the ultimate gimmick to sell his film, Crawford herself, although he couldn't resist some sort of tie-in so had millions of tiny cardboard axes made up to give to paying punters at the theatre. Sure it's a film that nods towards Psycho and Baby Jane et al, but the denouement here more than holds its own, while there's also a glorious bit of fun to be observed at the end with the Columbia Torch Lady logo suitably tampered with. Those actors around Crawford invariably fall into her shadow, but it's a mostly effective cast and Arling's photography blends seamlessly with the unfolding story. So not outright horror, then, more a psychological drama with some horror elements. But, which ever way you look at it, Crawford's performance is value for money as she files in for a bit of psycho- biddy. 7.5/10
While out to avoid spending time with her narcissistic and promiscuous mother, sixteen-year-old Jo has a brief affair that leaves her pregnant and abandoned. When her mother remarries, Jo's only support becomes her friend Geoffrey, a homosexual.
Josie Alibrandi is 17 and doesn't know where she belongs. This year, however, everything is going to change. Josie will face her fears, uncover secrets and even discover the true identity of her father.
After a frantic suicide attempt, Veronika awakens inside a mysterious mental asylum. Under the supervision of an unorthodox psychiatrist who specializes in controversial treatment, Veronika learns that she has only weeks to live.
Three men at three different times in history come to Mow Top hill in search of sanctuary from their troubles. A Roman soldier, a medieval rebel and a 1970s young man. Somehow they seem linked through an energy within the hill and an axe. Is history doomed to repeat itself or can loving another person free them?
An investigating judge in the Revolutionary Court in Tehran grapples with mistrust and paranoia as nationwide political protests intensify and his gun mysteriously disappears. Suspecting the involvement of his wife and their two daughters, he imposes drastic measures at home, causing tensions to rise. Step by step, social norms and the rules of family life are being suspended.
Overwhelmed and extra-sensitive, Katrine has a hard time coping when her more relaxed boyfriend, Andreas, takes a business trip just days after the birth of their first child. The fussy baby has difficulty breastfeeding, and vulnerable, insecure Katrine feels like a failure. When Katrine’s emotionally withholding mother Lise consents to stay for a few days, the two quickly fall into what are clearly familiar dysfunctional behavior patterns.
A young girl, institutionalised by her abusive stepfather, retreats to an alternative reality as a coping strategy and envisions a plan to help her escape.
An emotionally constrained view of the displacement of human feelings in our video saturated society. Van regularly visits his grandmother in a run-down nursing home. His father depends on phone sex for guidance meanwhile erasing family homevideos of happier times with homemade pornography. Will Van rescue his grandmother and memories of his mother in time?
The daughter of a Nevada casino owner gets involved with a racketeer, despite everyone's efforts to separate them.
A lawyer tries to prove her mother's innocence and uncover the secrets of a small village with the help of the local mayor. Her mother was accused of murder after the rice wine was poisoned at her husband's funeral, but she is suffering from memory loss and cannot defend herself.
Katharina and her son Stefan (16) live in a small town where everybody knows everybody. Stefan has been born with severe asthma. Katharina has ceased to count the nights that she has spent at his bed listening with fear, his breath. Their care and care have accompanied the child's growing up. Very deeply in Katharina is a doubt whether she really loves her child. Stefan's burgeoning sexuality finds its way in a disturbing way. He scares women during nightly journeys through the city, escorts prostitutes in front of a brothel, and watches couples in sex. When a young woman is found dead, the suspicion grows in Katharina that Stefan can be the culprit. He winds more and more out of Katharina's clasp and is increasingly aggressively seeking his own space. When a second woman is found murdered, Catherine's suspicion becomes evident. The relationship between mother and son implies a tragedy.