Wolf Man 2025 - Movies (Mar 10th)
Dirty Angels 2024 - Movies (Mar 10th)
Deathgrip 2 2024 - Movies (Mar 9th)
Mickey 17 2025 - Movies (Mar 9th)
The Reluctant Royal 2025 - Movies (Mar 9th)
Lumina 2024 - Movies (Mar 9th)
My Husband the Cyborg 2025 - Movies (Mar 9th)
Flow 2024 - Movies (Mar 8th)
In the Summers 2024 - Movies (Mar 8th)
Old Guy 2024 - Movies (Mar 8th)
Captain America Brave New World 2025 - Movies (Mar 8th)
Moana 2 2024 - Movies (Mar 7th)
Ghost Cat Anzu 2024 - Movies (Mar 7th)
The Silent Planet 2024 - Movies (Mar 7th)
Tuesday 2024 - Movies (Mar 7th)
Plankton The Movie 2025 - Movies (Mar 7th)
CHAOS The Manson Murders 2025 - Movies (Mar 7th)
George A. Romeros Resident Evil 2025 - Movies (Mar 7th)
The Little Mermaid 2024 - Movies (Mar 7th)
Bloat 2025 - Movies (Mar 7th)
Confessions of a Romance Narrator 2025 - Movies (Mar 6th)
Gladiators- Epic Pranks - (Mar 10th)
United States of Scandal - (Mar 10th)
Piers Morgan Uncensored - (Mar 10th)
Crimewatch Live - (Mar 10th)
The Tucker Carlson Show - (Mar 10th)
Alan Titchmarshs Gardening Club - (Mar 10th)
Tipping Point - (Mar 10th)
Marie Antoinette - (Mar 10th)
Bargain Hunt - (Mar 10th)
When Calls the Heart - (Mar 10th)
WWE LFG - (Mar 10th)
Family Feud Canada - (Mar 10th)
Panorama - (Mar 10th)
Murdoch Mysteries - (Mar 10th)
Saint-Pierre - (Mar 10th)
First Dates - (Mar 10th)
Common Side Effects - (Mar 10th)
Australian Idol - (Mar 10th)
Married at First Sight - (Mar 10th)
Two Ways With Erica Mena - (Mar 10th)
I read an ASC Short Takes article on this sometime last year and must've bookmarked the Vimeo page for later perusal. That later is now. ARXIV over-relies on CGI, something I find irritating especially when it's sloppy—as is frequently the case here. It's possible to tell a good science fiction story without decadent levels of production design. If a unique style one of a film's major facets, go ahead. Otherwise, I'd argue it's preferable to tone things down. It doesn't help that they stuck with a generic Blade Runner/Star Wars sequels aesthetic. If there's one thing I did appreciate, it is their tendency to model technology for aesthetic appeal and not futurological "accuracy." Consider the clinic receptionist's antique accounting machine and the office's square, mid-aughts IPS displays. There is precedent for this in what ARXIV imitates, think the 50s jalopies in Blade Runner encrusted with greebling and Star Wars' fixation with bladed weapons. It's something few imitators pick up on, let alone do well, in my experience. Very nice cinematography, especially given the five-day (preproduction? shooting?) crunch the article mentions. Their use of different LUTs, film stocks, and cameras/lenses for each time period adds emotional flavor and subtly demarcates them for what would otherwise be a pretty confusing viewing experience. Unfortunately, as far as I can grasp, the plot is a cliché mess, the dialogue is weak, and the acting is wooden (Dr. K's monologues, Lew's conversation at work, the phone call in the car, etc.). The _La Jetée_ homage at the end was nice though.
In this unsettling psychodrama, Minerva endeavours to connect and care for her grandmother Vina who is experiencing dementia.
Betrayed by his own kind and left for dead on a desolate planet, Riddick fights for survival against alien predators and becomes more powerful and dangerous than ever before. Soon bounty hunters from throughout the galaxy descend on Riddick only to find themselves pawns in his greater scheme for revenge. With his enemies right where he wants them, Riddick unleashes a vicious attack of vengeance before returning to his home planet of Furya to save it from destruction.
Linked by a rare psychological disorder, Noah Greene and Emily Gates must uncover the mystery of a tragic past in order to find hope for the future.
After he and his wife are murdered, marine Ray Garrison is resurrected by a team of scientists. Enhanced with nanotechnology, he becomes a superhuman, biotech killing machine—'Bloodshot'. As Ray first trains with fellow super-soldiers, he cannot recall anything from his former life. But when his memories flood back and he remembers the man that killed both him and his wife, he breaks out of the facility to get revenge, only to discover that there's more to the conspiracy than he thought.
When a 7-year-old son of the well-known businessman is kidnapped, he has no idea what awaits him! It turns out that the mysterious kidnapper does not need any ransom, but has only one claim: during the next day father must decide who will die of the two: his child or himself...
Barkhaa is a Bollywood Romantic film, directed by Shadaab Mirza and produced by Shabana Hashmi. It stars Sara Loren in lead titular role. The film also stars Taaha Shah, Shweta Pandit, Priyanshu Chatterjee and Puneet Issar in prominent roles. The film was extensively shot in Himachal Pradesh, India. Marketing of the film was done by Hash Entertainment and is distributed under the banner of Zahara Productions. It was released on March 27, 2015.
First the atomic war broke out, new machines were made, dead birds appeared. In 1999, a bacteriological warfare began, there were sandstorms and giant locust infestations; the human tissue was transformed and a new being, once legendary, now real, emerged: the vampire. Only Robert Neville, the last man on Earth, remains unpolluted, living in constant struggle with the new inhabitants of the planet.
Eiji and Ankh team up with Kotarou and Momotaros as they travel back in time to 1971 aboard the Den-Liner to stop three Mole Imagin. But Ankh’s desire to obtain Core Medals while in the past sets off a chain of events that alters the 40-year history of the Kamen Riders by allowing Shocker to take over the world. It’s up to OOO and New Den-O to restore the timeline!
An isolated teenager explores the past, his late father, and unstable memory through the use of celluloid on his 16th birthday.