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Australia on Fire- Climate Emergency - (Feb 20th)
The Family Business- New Orleans - (Feb 20th)
Ozark Law - (Feb 20th)
Dateline- Secrets Uncovered - (Feb 20th)
The Chief - (Feb 20th)
Storyville - (Feb 20th)
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Tribunal Justice - (Feb 20th)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Midnight Family - (Oct 2nd)
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Tell Me Lies - (Oct 2nd)
Seoul Busters - (Oct 2nd)
American Sports Story - (Oct 2nd)
The Bay - (Oct 2nd)
In MASCULIN FEMININ, shot in the autumn of 1965, Jean-Luc Godard studies the perennial features of courtship and dating between young men and young women, and the particular way they worked out in the newly permissive and economically booming society of 1960s France. Paul (Jean-Pierre Léaud) is 21 and has just finished his national service. In a café, he strikes up a conversation with Madeleine (Chantal Goya), a friend of a friend, with the pretext that she might help him find work. They start dating, and the film then tracks their rocky relationship, where Paul is frustrated as the sole man among Madeleine and her flatmates/girlfriends Elisabeth (Marlène Jobert) and Catherine-Isabelle (Catherine-Isabelle Duport). He occasionally meets up with his chum Robert (Michel Debord), just as young but already a passionate union activist. But really, this is a lot more than a study in boy meets girl. Godard gives us a whole bucket of 1960s social, political, and cultural themes. Paul and Robert are both passionate members of the French Left, while the girls are more interested in the other side of the ideological divide, namely consumer society (pop music, clothes, cars). Their conversations reveal Godard's own unease at how the world was developing in the 1960s, his fears of political repression, dizzying technological progress, and a working class who had no time to enjoy all the stuff it could now buy. At several points in the film, the main characters overhear conversations in public places that are completely over-the-top in terms of sex and violence, but which reveal some of the tensions in society. In fact, in one of the film's most striking scenes, Godard without warning has Leáud interview a real young woman (Elsa Leroy) who had recently won a fashion magazine's "girl of the year" award, asking her about politics, war, and what she wants from life. In this six-minute scene where only she is visible on camera, clearly put on the spot, she seems totally oblivious to the war in Vietnam and other great issues of the day. Your reviewer is quite a passionate armchair historian about 1960s youth culture in Europe, and like many other books and films, MASCULIN FEMININ shows that many of the issues of the day are still very relevant for us in the new millennium. For this film, Godard's usual cameraman Raoul Coutard was unavailable, so he brought in Willy Kurant. While the two reportedly quarreled during the production, Kurant pulls off some remarkable long takes, again elevating a boy-meets-girl or boy-and-girl-have-rocky-relationship story into a delight for the eye. The use of sound (live sound from the cafés in which they shot, the occasional peal of gunfire) is also distinctive. MASCULIN FEMININ is perhaps less raved about than other Godard films from this time. It can arguably be called a minor effort in its recycling many elements from earlier productions while still searching for a way forward. That recycling isn't a bad thing, however, as the use of formal elements (division into tableau, a brutally abrupt ending) from Vivre sa vie, for instance (not to mention other earlier efforts), works just as well in the context of this story. I was initially baffled by the ending and how the film led up to it, but the more I look back at it, the more I'm impressed.
An ex-model gets caught up in lust, murder and betrayal when a gun-wielding man pays her a visit.
An honest and idealistic archaeologist, to find the legendary burial of an Etruscan king, collides with the interests of a group of "grave robbers". Larth is a passionate archaeologist of the Etruscan civilization, on the trail of a famous royal tomb. Vasco is a hotelier in the area which is enriched by plundering the graves and selling their treasures. Tania is the beautiful, thirteen year old, niece of Vasco (played by 18 yr old Brigitta Boccoli ) that disturbs the mature scholar Larth by attempting to seduce his wife Leonora. There is treasure, thievery, murder and seduction. Oh, and a red car.
A young man, Marco, working as a butcher, accidentally kills a taxi driver. His girlfriend Paula wants to go to the police so he has to kill her too. He then has to kill his brother, his brother’s fiancée and his father, who have become suspicious. He gets rid of the bodies by taking them to a slaughter house.
An elderly couple move into an old, supposedly haunted abandoned house. A young girl comes to live with the pair as a companion for the wife. However, soon the girl is possessed by the spirit of another girl, a wealthy woman who had once lived in the house but who had been murdered there.
Cult director Richard Stanley brings Marillion's music to the screen in the 50-minute BRAVE. A teenager believed to be suicidal is discovered wandering near the Severn Bridge. Suffering from severe memory loss, she seeks information about the mysterious events that led to her condition. This work of fiction was inspired from the true story of an amnesiac woman found at the bridge.
In 1928 Arthur Upfield, Australia’s premier crime writer, plotted the perfect murder for his novel The Sands of Windee. Meanwhile, one of his friends, stockman Snowy Rowles, put the scheme into deadly effect, even before the book was published. This true story resulted in one of Australia’s most sensational murder trials of the 1930’s and catapulted Upfield’s name onto the world stage.
The story of Gwen Araujo, a transgender teen who was murdered in California in 2002.
This gripping historical drama recounts the story of Armenian-born Missak Manouchian, a woodworker and political activist who led an immigrant laborer division of the Parisian Resistance on 30 operations against the Nazis in 1943. The Nazis branded the group an Army of Crime, an anti-immigrant propaganda stunt that backfired as the team's members became martyrs for the Resistance.
True story of a young woman's abduction by a deranged loner that led to the largest manhunt in the history of Pennsylvania.
A mother takes the law into her own hands after her daughter's murderer is acquitted on a technicality.