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The location photography and the beautiful score from Nino Rota help make this, for my money, the best screen adaptation of this most tragic of Shakesperian tragedies. Add to those classic elements, a really strong cast that mixes new blood with those more experienced and we get a properly heart-rending iteration. The constantly feuding "Montague" and "Capulet" families dominate society in Verona. Despite this long standing animosity, the curious and charming young "Romeo" (Leonard Whiting) risks life and limb to attend the "Capulet" masked ball. It is there that he encounters the beauty that is "Juliet" (Olivia Hussey) and the two embark on a relationship that puts both themselves and their friends in great peril. Over the course of the next 2¼ hours, Franco Zeffirelli immerses us in the greatest love story in English literature, tempered with jealously and intolerance, petty vengeances and loads of humour as the youngsters struggle to comprehend the reason for this historic vendetta. Whiting has a freshness and exuberance as the young "Romeo" - his effort here makes it easy to see why "Juliet" would be drawn to his attractive boyishness. Miss Hussey, too, brings an innocence and optimism to her performance that, when the two share the screen, is really quite engaging to watch. To be honest, some of the supporting cast were a bit on the theatrical side - especially Robert Stephens' "Prince" and Michael York doesn't really shine in the crucial role of "Tybalt", but to compensate there are lively contributions from Pat Heywood as the nurse - always a fun character with this author; Milo O'Shea works well as "Friar Laurence" as does John McEnery as "Mercutio". It takes only a few liberties with the original script, and so the story flows along towards it's well known ending much as William Shakespeare might have imagined, which adds great richness to a dialogue that does require concentration, but is well worth the effort in the end.
**Another fine adaptation of the Bard's masterpiece.** William Shakespeare is an author of all time. Everyone knows him, everyone considers him, even those who don't speak native English. It is a universal heritage, and “Romeo and Juliet” is his most important work. There is no end to the number of film adaptations: basically, “Romeo and Juliet” has been adapted to film for as long as cinema has existed. And it's hard to choose which one is the best, each one has its merits and demerits. I have some preferences, but I'm not going to lie, this adaptation deserves to be among the best. It's pretty obvious that Franco Zeffirelli tried everything to be absolutely faithful to the material and give us something realistic and powerful. In addition to trying to give us realistic sets and costumes with credible Renaissance touches, he filmed in Italy, making the most of the cities and ancient squares of various cities. He was also not satisfied with the famous actors of the time and looked for teenage actors capable of incarnating, with strong realism, the two central characters of the plot. The cinematography was also meticulously handled by the director, with a meticulous eye and surgical cuts. The result of all this remarkable work is plain to see: we are talking about a film released in 1968, when our parents were burning books in universities and shouting for revolution and free love, or fighting with guns in hand in some corner of Colonial Africa. The world seems to have turned a somersault in those fifty years, and yet the film is still impeccable, it looks magnificent, and it seems so fresh and new that it could almost be a current film. Nominated for four Oscars, it won two: Best Cinematography and Best Costume Design. Righteous. Leonard Whiting and Olivia Hussey give us the greatest interpretations of their careers, still in their teens, which is remarkable on the one hand, and sad on the other, as it denotes that they were not able to, with that, really succeed in the world of cinema. . Michael York also deserves a round of applause for his magnificent performance as Tybalt, and I also really liked Bruce Robinson, John McEnery and Pat Heywood. Unfortunately, it is not a film without flaws, most of which lie in the details that pass our attention. The first fault is, for me, the excessive light of some scenes, where the colors and the look of the film are strange due to the excessive light. Another problem has to do with the lack of ability to transform stage dialogues into cinema dialogues, that is, to transform the elaborate and theatrical lines that Shakespeare thought into something that would actually be feasible in the mouths of real characters. And I also didn't like that they cut the apothecary scene. Someone mentioned the nudity scene of the two main characters, and I can even find it understandable that this has offended some prudes, but it's a nudity that is understandable by the time the film was released... and honestly? Call me what you like, Olivia Hussey was quite beautiful, dressed or undressed.
Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.
Overwhelmed by her suffocating schedule, touring European princess Ann takes off for a night while in Rome. When a sedative she took from her doctor kicks in, however, she falls asleep on a park bench and is found by an American reporter, Joe Bradley, who takes her back to his apartment for safety. At work the next morning, Joe finds out Ann's regal identity and bets his editor he can get exclusive interview with her, but romance soon gets in the way.
In 1962 Hong Kong, two neighbors form a strong bond after both suspect extramarital activities of their spouses.
Women enter and exit a science fiction author's life over the course of a few years after the author loses the woman he considers his one true love.
After the death of his mother, a young boy calls a radio station in an attempt to set his father up on a date. Talking about his father’s loneliness soon leads to a meeting with a young female journalist, who has flown to Seattle to write a story about the boy and his father.
The story of an old Jewish widow named Daisy Werthan and her relationship with her black chauffeur, Hoke. From an initial mere work relationship grew in 25 years a strong friendship between the two very different characters, in a time when those types of relationships were shunned.
In the 1930s, Count Almásy is a Hungarian map maker employed by the Royal Geographical Society to chart the vast expanses of the Sahara Desert along with several other prominent explorers. As World War II unfolds, Almásy enters into a world of love, betrayal, and politics.
Director helmut Dietls and Patric Susskinds illustrate a legendary story of two lovers who cant keep themselves away from death.
A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.
Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.
From the heights of notoriety to the depths of depravity, John Forbes Nash Jr. experiences it all. As a brilliant but socially awkward mathematician, he made a groundbreaking discovery early in his career and stands on the brink of international acclaim. But as the handsome and arrogant Nash accepts secret work in cryptography, he becomes entangled in a mysterious conspiracy. His life takes a nightmarish turn and he soon finds himself on a painful and harrowing journey of self-discovery.