Matthew Perry A Hollywood Tragedy 2025 - Movies (Feb 25th)
A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
Take That This Life – Live In Concert 2024 - Movies (Feb 25th)
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Monster Mash 2024 - Movies (Feb 23rd)
Kraven the Hunter 2024 - Movies (Feb 23rd)
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Swimming Home 2024 - Movies (Feb 22nd)
Sugar Mama 2025 - Movies (Feb 22nd)
Ghost Rite Here Rite Now 2024 - Movies (Feb 22nd)
The Bayou 2025 - Movies (Feb 21st)
Old Guy 2024 - Movies (Feb 21st)
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Inheritance 2025 - Movies (Feb 21st)
All In with Chris Hayes - (Feb 26th)
The Rachel Maddow Show - (Feb 26th)
The Beat with Ari Melber - (Feb 26th)
Mythic Quest - (Feb 26th)
Prime Target - (Feb 26th)
Love You to Death - (Feb 26th)
Berlin ER - (Feb 26th)
Moonshiners - (Feb 26th)
Fixer to Fabulous - (Feb 26th)
Finding Your Roots - (Feb 26th)
Night Court - (Feb 26th)
FBI- International - (Feb 25th)
The Fear Clinic- Face Your Phobia - (Feb 25th)
Independent Lens - (Feb 25th)
Top Guns- Inside the RAF - (Feb 25th)
The Bold and the Beautiful - (Feb 25th)
Tipping Point - (Feb 25th)
Come Dine With Me- South Africa - (Feb 25th)
Beyond the Gates - (Feb 25th)
Four in a Bed - (Feb 25th)
If Paul Haggis is going to keep on making movies, would somebody do us all a favor and sign him up for a basic screenwriting class? I mean, please, this film could be a lesson all on its own on how not to write a decent screenplay. Its all in here: one-dimensional characters, supremely poor pacing, multiple threads that go absolutely nowhere and completely implausible action sequences. And, you know, it's just a B-thriller. It's not like I haven't seen these mistakes time and time again. What really bothers me is just how highly it thinks of itself. It not only thinks it's interesting (which it isn't whatsoever), but it thinks it's smart, edgy, and it probably even thinks it's clever. I mean, there are so many characters who function for exactly one plot point and are then left behind in the dust. For example, this one chick who's name I forget (did they ever even say her name?) is introduced fairly early on in the film, and looks even like Russell Crowe's love interest. We see the very, very beginnings of a meaningful relationship forming and then it turns out that she was only a device to fill in a little potential plot hole (trying not to spoil the movie.) The same with Russell Crowe's parents, there are a handful of scattered scenes with them showing little glimpses of a meaningful relationship, and then the same exact friggin' thing is done, they're used as a simple (and illogical) plot mechanism. It's almost like one of Paul Haggis's friends was reading the script and said "hey, Paul, this is completely ridiculous, how could they possibly manage to _________" and Haggis wrote in these characters as devices to satisfy the issue, realized they were one-dimensional, and wrote in a pseudo-intelligent relationship (which doesn't in reality make them any better.) And this is how the first 2/3 of the movie moves so dreadfully slowly. I mean, I'm absolutely confident that with a decent editor, the first hour and fifteen minutes could be whittled down to maybe half an hour. They could have especially left out the symbols that don't actually symbolize anything. Which seems silly to say, but the jar of quarters that keeps recurring in the movie not only has no plot significance, but has zero metaphorical significance. They barely explained what they were doing in their house. They were quite literally only in the film to make it look a little deeper. Not to make it more meaningful, but to make it look more meaningful. To make it "smart," and "edgy," and "clever." I don't usually have a problem with making it through a movie but I had to push to make it through this ludicrous, self-righteous mess.
Seen this movie a handful of times over the years, and still holds up so well. A solid thriller with fine performances by Russell Crowe and Elizabeth Banks, and features a great supporting cast in small parts (seems about 5 min. each), including Liam Neeson, Daniel Stern (wish he'd do more straight dramas), Brian Dennehy (RIP) and Olivia Wilde. Some nice suspense-filled moments throughout (the bump key scene still gets me). However, the final scene with detective "seeing" how the crime went down seemed like something the studio wanted to give a clear conclusion, and felt so unnecessary. **4.0/5**
Two policemen, one an old-timer, the other his volatile younger partner, find themselves suspended when a video of their strong-arm tactics becomes the media's cause du jour. Low on cash and with no other options, these two embittered soldiers descend into the criminal underworld to gain their just due, but instead find far more than they wanted awaiting them in the shadows.
After a relaxing anniversary cruise, Andrea and his wife Barbara are dropped off in Istanbul, Turkey. There, they meet Andrea’s reserved assistant Silvia and his Turkish colleague Omar, who hasn’t been back to his home country in fifteen years. Andrea’s secretary has arranged a luxurious seafront villa for them to stay in while they’re in the country. Upon arriving at the villa, Omar experiences an unsettling feeling of déjà vu, as though he has been in the house before, while the married couple can’t stop bickering. However, the vacation soon turns into a nightmare when mysterious and deadly events begin to unfold.
This is a dramatic chain of events in the most glamorous ,swinging era of Hindi films... the 1960s. It was a decade when film stars tasted success and carried their larger than life screen image on to real life with unbridled pomp and splendour. It was during this time that two ambitious films were made... Ujwal Nirmal Sheetal and Reena Mera Naam. The latter became a runaway hit while the former was struggling at the box office.
The gritty life of the Mumbai underworld, including prostitution, dance bars and gun crime.
An English pianist living in Rome witnesses the brutal murder of his neighbor, a psychic. With the help of a tenacious young reporter he tries to discover the killer using very unconventional methods, and the two are soon drawn into a shocking web of dementia and violence.
After a former model is drowned in her bathtub, Detective James Halloran and Lieutenant Dan Muldoon attempt to piece together her murder.
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
Quiet, withdrawn 13-year-old Rynn Jacobs lives peacefully in her home in a New England beach town. Whenever the prying landlady inquires after Rynn's father, she politely claims that he's in the city on business. But when the landlady's creepy and increasingly persistent son, Frank, won't leave Rynn alone, she teams up with kindly neighbor boy Mario to maintain the dark family secret that she's been keeping to herself.
Stroud, a crime magazine's crusading editor has to post-pone a vacation with his wife, again, when a glamorous blonde is murdered and he is assigned by his publishing boss Janoth to find the killer. As the investigation proceeds to its conclusion, Stroud must try to disrupt his ordinarily brilliant investigative team as they increasingly build evidence (albeit wrong) that he is the killer.
Rose Loomis and her older, gloomier husband, George, are vacationing at a cabin in Niagara Falls, N.Y. The couple befriend Polly and Ray Cutler, who are honeymooning in the area. Polly begins to suspect that something is amiss between Rose and George, and her suspicions grow when she sees Rose in the arms of another man. While Ray initially thinks Polly is overreacting, things between George and Rose soon take a shockingly dark turn.