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Sarah Beenys New Life in the Country - (Jan 18th)
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Mysteries Unearthed with Danny Trejo - (Jan 18th)
The Chase - (Jan 18th)
Let me start off by saying that I completely understand all of the hate this film is getting, and that's because for the first half of the film I hated it too. For too much of this film, a lot of the characters are just unlikable slobs . . . especially Mel Gibson's character of Bill Long. Also, the story plays out . . . well, it plays out terribly for the first half of the film. It wasn't until later in the film when Stuart Long decides to become a preacher that I was actually invested, and why's that? That's because Long was an absolute piece of trash that I didn't want to watch for the first half of the film. This does not go without saying that by the end I liked Stuart Long's character in the film, but I couldn't like him for the first half. The film isn't precisely terrible, but it isn't good. The third act is solid, but everything in the first act is bad, and the second where Stu is transitioning is mediocre. This does not make for a good film. When the film is simply bad for the first two acts, it can't just make up for it with a good third act, which sucks because the third act was actually not too bad. The entire path of redemption message is interesting, but we've seen it done before, and with much better characters to say the least, but of course, this isn't saying that the path to redemption is bad to watch, but it is still bland and has been done multiple times before. It was nice to see Bill Long become a semi-decent human being at the end of the film, because he realizes he has to now actually care for his son, Stu, but it doesn't really redeem him as a character within the film's boundaries. Also, Bill's character is an absolute D-bag throughout most of the film, so it makes it extremely hard to like him as a character by the end of the film . . . but, boy, if seeing that final dance with his wife wasn't something. . . . Forgiveness is really what's at the core of "Father Stu", but I've already covered that previously. What I'm trying to talk about here is how almost all the characters have something they want to be forgiven for. Bill & Kathleen Long do seem to regret their choices that brought them to this point in their lives, and it's clear that they regret whatever tore them apart. As for Stu, he wants to be forgiven for everything. He regrets just about everything he's done in his life up to this point. The sad part about it is: There's just too much that Stu's done for the audience to really forgive him completely, although it is terrible what happened to him. In my eyes, "Father Stu" isn't absolutely terrible, and I do think that it's mediocre at best by the end of the day. The third act is very well done, but because of all the other stuff beforehand it leaves a bad taste in my mouth. I think people should check this one out if they're interested, but other than that, just leave it be. Ultimately, "Father Stu" is a hard thumbs down for me.
Mark Wahlberg is competent here as the eponymous boxer who takes a shine to the young church-going Carmen (Teresa Ruiz). He can't get near her, so he somewhat opportunistically decides to join her church and see if that helps. Thing is, pretty quickly he discovers that there is something to this "God" thing, and decides to try and get himself ordained for the priesthood - leaving all thoughts of the girl behind. Meantime, he discovers that he is suffering from a degenerative disease that will prove debilitating as he ages. It's one of those inspirational stories this, but I just didn't particularly like or empathise with "Stu". I found his profound and fairly sudden Damascine conversion hardly explained in the context of the film and except for a few decent contributions from the always reliable Jacki Weaver (his mother) the rest of this was all a bit lacking in substance. I never felt like I knew what made this man tick! It is nice to see Malcom McDowell back on the screen, and Mel Gibson is perfectly adequate as his rather indifferent father - but sadly, this whole film is a just another, sometimes touching, biopic of one man of many who live to inspire through their church (or not) whilst facing adversities and trials that trouble many people. It is watchable, but I'm afraid equally forgettable.
It is a dramatization about Major Kim Man-il's service during the Korean War. The Korean forces dispatch two military units to defend the Baeti Heights led by Kim. Although it is hard to do so, Kim and his senior, Kim Mu-cheol (Choe Bong), and other soldiers do their best. Kim even risks his life to save his juniors, but many die as the enemy forces approach. Meanwhile, Lee Kang-no (Yun Il-bong), a communications officer, reads a letter from his wife - missing her and his daughter. Encouraged by it, Lee risks his life to make successful communication between his military unit and the headquarters. His unit wins. Commander Kim Man-su gathers a small number of his subordinates because many had died, and encourages them to do their best toward the enemy off.
There was a robbery in the bank where Joselito Joseco (Gary Estrada) was employed and having adapted the guts and bravery of his idol, he was able to save the loot and shoot down the robbers.
Fashion icon Coco Chanel, steeped in wealth and fame, still issues game-changing designs and collections. The audience is taken backwards in time to the woman's upbringing in an orphanage, and traces her path to ubiquity as it winds through poverty, wars, doomed romances, and rather glamorous betrayals.
Based on actual events that occurred in Hokkaido, Japan, 1915. Rimeinzu: Utsukushiki yuusha-tachi tells the story of a group of bear hunters that are tracking a 900 pound brown bear nicknamed Red Spots that is terrorising the area. It attacks and kills men, but it feasts only on women.
The film is a series of vignettes from Taiji Tonoyama's life and film clips, interspersed with a dialogue to camera by Nobuko Otowa, addressing the camera as if she is addressing Tonoyama himself, recollecting events in his life. The film focuses on Tonoyama's alcohol dependence and his various sexual relationships, as well as his film work with Shindo.
Based on true events, 'Alex: The Life of a Child' follows former 'Sports Illustrated' writer Frank Deford and his wife Carole when their happy, all-American family is rocked to the core when their baby daughter Alex is diagnosed with Cystic Fibrosis. While CF sufferers were almost certainly doomed to an early death in the Seventies, Alex grew into a child who showed remarkable courage and strength in face of her illness. Her loving family were quick to rally around her, determined to show the same bravery as the little girl as they supported and cherished her through life and struggled to move on after her death at the tragically young age of eight.
Kenneth Bianchi is a security guard whose attempts to become a police officer are repeatedly thwarted. He moves to California to live with his cousin Angelo and dates a string of women, becoming increasingly preoccupied with sex. Eventually the cousins decide to start an escort agency. After violently killing a prostitute they thought had betrayed them, Kenneth and Angelo begin committing a series of crimes that become a media sensation.
Filmed in the coal country of West Virginia, "Matewan" celebrates labor organizing in the context of a 1920s work stoppage. Union organizer, Joe Kenehan, a scab named "Few Clothes" Johnson and a sympathetic mayor and police chief heroically fight the power represented by a coal company and Matewan's vested interests so that justice and workers' rights need not take a back seat to squalid working conditions, exploitation and the bottom line.
This Canadian made comedy/drama, set in Hamilton, Ontario in 1954, is a sweet and - at times - goofy story that becomes increasingly poignant as the minutes tick by. It's the fictional tale of a wayward 9th grader, Ralph (Adam Butcher), who is secretly living on his own while his widowed, hospitalized mother remains immersed in a coma. Frequently in trouble with Father Fitzpatrick (Gordon Pinsent), the principal of his all-boys, Catholic school, Ralph is considered something of a joke among peers until he decides to pull off a miracle that could save his mother, i.e., winning the Boston Marathon. Coached by a younger priest and former runner, Father Hibbert (Campbell Scott), whose cynicism has been lifted by the boy's pure hope, Ralph applies himself to his unlikely mission, fending off naysayers and getting help along a very challenging path from sundry allies and friends.
Lt. Col. Michael Strobl, a volunteer military escort accompanies the body of Lance Cpl. Chance Phelps to his hometown in Wyoming.