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Another big budget movie from Spielberg, this one a thriller drawn from actual events. The movie was tense and entertaining, with an ensemble cast you have to appreciate. I have no desire to delve into the politics behind the movie or its accuracy. I am looking only at it for its entertainment value. There were a few things I really liked about it. The chemistry among the mission team, once it developed, was impressive. They are not bosom buddies at all, but they grew to appreciate what each other brought to the team. Although there is plenty of tension here, I also appreciated the angle of these men beginning to question the ethics of what they were doing. That sets this script aside from most other thrillers. And I really like Ciara Hinds. He brings a calmness to the role, a calm backed by strength. I have liked in other roles, so it is no more than I expect. I am not a fan of thrillers, but if there were more like this one, who knows?
The start of this shows the American news reporting of the atrocity at the Munich Olympiad that resulted in the murder of eleven people at the hands of the Palestinian "Black September" movement. The Israeli government faces a difficult task in tracking down those responsible. Some political and diplomatic tightropes to walk, so they alight on a plan to engage five freelance individuals to do the job for them. This group is to be led by "Avner" (Eric Bana) and handled by "Ephraim" (Geoffrey Rush) on a distinctly arm's-length basis. What ensues now sees these men, with the help of "Louis" (Mathieu Amalric) who uses their considerable financial resources to secure information of the whereabouts of these culprits, set about their mission. This isn't a task about justice, it's straightforward revenge. No efforts are needed to capture these people alive, though they do attempt to limit the extent of collateral damage - especially as virtually none of their activities take place on Israeli soil. It's when one of their operations goes spectacularly wrong that they begin to suspect that they are also being used by other nefarious folks to do a bit of housekeeping too. The underpinning story is one of vengeance, of retribution and though initially I did have some sympathy with that cause, I found the marauding actions of these men with a self-appointed justification for their slaughtering to become a little unjustifiable. The actor Bana can't really impose himself - or his character - enough to humanise the proceedings and though Rush does impact now and again when he is on screen, the rest of the cast deliver a lacklustre contribution to what I perceived to be an increasingly unforgivable course of action that was only ever going to make matters worse and sow more seeds of counter-vengeance. To be fair to Steven Spielberg, I think he has presented this film in a fashion that invites comment and criticism. Not just of the random atrocity with which we begin, but of the futility of engaging in a dog-eat-dog cycle of self-perpetuating violence. Michael Lonsdale's outwardly rather benign "Papa" living a life of peace and family in rural France illustrating well that there are rarely any winners in these sorts of conflicts - and those that do rarely have any skin in the game beyond the venal. Amalric does quite well in these slightly sleazy sort of roles, but otherwise I was underwhelmed by the whole, somewhat lengthy, thing.
Japanese detective Hayase is caught in the midst of a truck robbery on the way to the Seoul airport. Being forced to extend his stay and help identify the robbers, Hayase gets thrown into another situation - as Japan's Foreign Minister is kidnapped before the upcoming Asian Summit. Is 72 hours enough?
A young woman finds her life in danger when an emotionally disturbed police officer she bullied in high school targets her in a twisted plan of revenge.
Raj rebuilds his murdered father's car and names it Taarzan, but the car comes to life in a miraculous way and slowly starts killing the killers of Raj's father.
Three separate stories all concern the relationships between adult children, their somewhat distant parent (or parents), and each other. Each of the three parts takes place in the present, and each in a different country. Father is set in the Northeast U.S., Mother in Dublin, Ireland, and Sister Brother in Paris, France. The film is a series of character studies, quiet, observational and non-judgmental. A comedy, but interwoven with threads of melancholy.
28 years ago, Liang gives birth to a boy named "Little Bean Jelly" in prison. When the kid turns one, the mother and son lose contact. Years later, Green Dragon Group's henchman "Ghost" is ambushed during a mission and becomes blind. When Liang is released from prison, she meets Ghost. One wants only to complete the assassination, while the other wants to make amends to rebuild their mother-son relationship. By an unexpected combination of circumstances, this mother and son help each other redeem themselves and return to the right path.
A small-time crime boss kills a drug dealer without realizing that the drug dealer works for the biggest crime boss in the country.
A repressed artist receives ritual abuse from those who pass him as he paints portraits in the park. Gradually becoming more frustrated, anger builds up within the artist, leading him to embark upon a quest to gain revenge on all those who have humiliated him.
American crime reporter John Jones is reassigned to Europe as a foreign correspondent to cover the imminent war. When he walks into the middle of an assassination and stumbles on a spy ring, he seeks help from a beautiful politician’s daughter and an urbane English journalist to uncover the truth.
After a massive shootout, a mysterious stranger arrives at a local hospital on the brink of death. Then, a foreign gang brazenly comes to the hospital to hunt him down. His nurse, the sole surviving witness to the follow-up shootout, must face an FBI interrogation that unlocks a plot of international intrigue and revenge.
A European prince terrorizes the local peasantry while using his castle as a refuge against the "Red Death" plague that stalks the land.
China is in unrest, as the Republic falls prey to Warlords like Kahn Xin, who holds an entire province hostage to the opium trade—and destroys all who oppose him. Only the revered Wudang monks dare stand in Kahn’s way in order to protect the very soul of China. Among them is the Westerner, White Crane, a spiritual master of the martial arts and protector of the innocent. Revenge is not in Crane’s heart—until a mercenary army storms the temple and slaughters the beloved female Grandmaster Myling. Out of the ashes of the temple ruins, Crane rises—with vengeance in his heart. Crane comes upon Jane Marshall, a New York lounge singer and her gangster boss Bingo Quo. But it’s Bingo’s dangerous professional ties to Kahn that draw both Crane and Jane deep into the Warlord’s lair. Now torn between the spiritual Wudang teaching and the cold-blooded life of an assassin, Crane is about the cross the fine line between justice and revenge.