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Outnumbered - (Jan 30th)
The Challenge- All Stars - (Jan 30th)
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The eponymous protagonist of Jim Jarmusch's 1999 film GHOST DOG is an African-American hitman (Forest Whitaker) working for an Italian mafia in New Jersey and living according to the Hagakure, Japan's samurai code. After a hit goes wrong through no fault of the assassin's own, his mafia liaison Louie (John Tormey) is sympathetic, but explains that his superiors now want Ghost Dog dead. The film follows Ghost Dog's revenge and depicts a clash between two ancient tribes that both seem out of date in this modern world: Ghost Dog's samurai code and Italian mafia ideas of loyalty. Jarmusch has always been open about the fact that he soaks up a huge number of inspirations from earlier films, books, and music and then lets them reflect in his own work. Any cinephile will instantly recognize Jean-Pierre Melville's 1967 film Le Samouraï as the point of departure for GHOST DOG. In Meville's classic, a Parisian hired assassin lives according to a strict code. But Melville didn't really know much about Japan, and even the quotation from a samurai text at the beginning of his film was just made up by Meville himself. Jarmusch seems to have decided, "OK, I'll show you a hired-assassin film that's *really* rooted in the code of the Samurai". Forest Whitaker quotes from Hagakure throughout the film, and there are also references to the work of Akira Kurosawa. But GHOST DOG is not a remake, and Jarmusch takes the basic premise in a very individual direction. There's a lot of humour here, something missing from the serious Melville inspiration. In casting for the mafia dons, Jarmusch chose faces as brutal and distinctive as Dick Tracy's rogues gallery: Henry Silva as the don, and Cliff Gorman and Gene Ruffini as his righthand men. But Jarmusch then gives them the occasional zany line that cracks that chilling façade. Isaach de Bankole plays a supporting role as a French-speaking Haitian immigrant and Ghost Dog's best friend, a role that is pure comic relief because the man doesn't speak English and Ghost Dog doesn't understand French, but they always manage to understand each other. Until the late 1990s, Jarmusch had mainly been known as a fairly low-budget independent filmmaker writing cute little stories about personal relationships in low-key American life. Jarmusch's America was consistently depicted as run-down neighbourhoods and overgrown vacant lots. With its generous budget, large cast and special effects, GHOST DOG marked a huge leap forward in Jarmusch's work. Still, it maintains Jarmusch's interest in America as a land of urban blight and seedy underbellies: most of the film takes place in an ugly New Jersey urban setting. Furthermore, instead of being glamorized, the Italian mafia is depicted as a spent force, mainly elderly men who can't rake in the cash and influence they used to, and even forced to pay protection money to Chinese newcomers. As the film reaches its shocking ending, the glamour is drained from Ghost Dog's warrior code, as well. The music for GHOST DOG was provided by RZA, at the time still best known as part of the Wu-Tang Clan. The music mainly consists of wordless beats, though, with actual rapping only at a few points. Personally, I find the use of hip-hop a weak point of the film (Jarmusch looks like an outsider looking in to this scene, unable to organically make it part of his own work), and RZA's insistence on appearing in the film itself disrupts the rhythm of the film's climax.
Four Harlem friends - Bishop, Q, Steel and Raheem - dabble in petty crime, but they decide to go big by knocking off a convenience store. Bishop, the magnetic leader of the group, has the gun. But Q has different aspirations. He wants to be a DJ and happens to have a gig the night of the robbery. Unfortunately for him, Bishop isn't willing to take no for answer in a game where everything's for keeps.
In the panicky, uncertain hours before his wedding, a groom with prenuptial jitters and his two best friends reminisce about growing up together in the middle-class African-American neighborhood of Inglewood, California. Flashing back to the twenty-something trio's childhood exploits, the memories capture the mood and nostalgia of the '80s era.
Beautiful Carmen Colson and her ironworker husband Wayne are placed in the Federal Witness Protection program after witnessing an "incident". Thinking they are at last safe, they are targeted by an experienced hit man and a psychopathic young upstart killer.
Charles, an attorney, and Helen, his devoted wife, seem to have everything – money, a beautiful mansion – the American Dream. However, as Helen prepares to celebrate their 18th wedding anniversary, her life takes an unexpected twist when she comes home to find her clothes packed up in a U-Haul van parked in the driveway. Charles is divorcing her and kicks her out. Helen moves in with her grandmother Madea, an old woman who doesn't take any lip from anyone. Madea helps Helen through these tough times by showing her what is really important in life. Helen is forced to rediscover love, life, and religion in her pursuit for happiness.
Soon after his insufferably arrogant father wins the Nobel Prize for chemistry, Barkley Michaelson is kidnapped by Thaddeus James, a young genius who claims to be Barkley's illegitimate half-brother. Motivated not so much by money as revenge, Thaddeus tries to convince Barkley to help him carry out a multimillion-dollar extortion plot against their patriarch.
When three women living on the edge of the American frontier are driven mad by harsh pioneer life, the task of saving them falls to the pious, independent-minded Mary Bee Cuddy. Transporting the women by covered wagon to Iowa, she soon realizes just how daunting the journey will be, and employs a low-life drifter, George Briggs, to join her. The unlikely pair and the three women head east, where a waiting minister and his wife have offered to take the women in. But the group first must traverse the harsh Nebraska Territories marked by stark beauty, psychological peril and constant threat.
When an only child is struck by a car and dies, the child's mother seeks vengeance against the driver in this thrilling drama. The car was driven by the wife of a company president who is having an affair. The woman's husband manages to buy silence about the incident, but the victim's mother discovers the identity of the driver. After she secures a job in the home of the company president and his philandering spouse, the woman plans to murder the couple's son when he reaches the age of her late son.
Ray, a construction worker trapped in an unhappy marriage, pursues an affair with his neighbor, Carla. Carla's husband, Greg, is a mobster who keeps large sums of drug money in their home. With this in mind, Carla comes up with a plan: She and Ray will steal Greg's money, burn down her house, convince Greg the money was lost in the fire and then run away together. Carla's scheme, however, doesn't go off as planned.
Marek, a crime squad officer, sets out to avenge the death of his partner and best friend, who was killed by drug traffickers. He asks for a posting to a new undercover unit created to infiltrate a drug gang that imports hashish from Morocco using the "Go Fast" method. A fleet of high-powered speedboats and cars races across the Mediterranean to Spain and then France, loaded with drugs.
When her only relative, her elder brother is accused of robbing and murdering an old woman loan-shark, pretty, young Kiriko travels from her home in Kyushu to Tokyo to get Japan's top lawyer to defend her brother. Unfortunately her naive idealism is shattered when the lawyer refuses to take the case based on her insufficient funds. What follows is a long determined revenge plot that sees the heroine become a Tokyo bar hostess and worse to punish the lawyer. The plot thickens with another murder mystery and a sleuthing reporter.