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There can't be any such thing as civilisation unless people have a conscience. The Ox-Bow Incident is directed by William A. Wellman and adapted to screenplay by Lomar Trotti from the novel of the same name written by Walter Van Tilburg Clark. It stars Henry Fonda, Henry Morgan, Dana Andrews, Mary Beth Hughes, Anthony Quinn, William Eythe and Jane Darwell. Music is scored by Cyril J. Mockridge and cinematography by Arthur C. Miller. Gil Carter & Art Croft ride into the town of Bridger's Wells, they hit the local saloon to imbibe after a log hard cattle drive. Whilst there a man runs in and announces that a popular man from the town has been shot by rustlers. The sheriff is out of town and a lynch mob quickly forms to bring what they see as swift justice to the culprits, Gil & Art join the posse so as to make sure they themselves don't get blamed for the shooting. The posse finds three weary workers and convince the majority that these guys are guilty and that instant hanging is the only way to do things. There are, however, one or two dissenting voices...... What a fabulous movie this is, a powerful indictment of how the lynch mob mentality can grip and lead to pain for many. William Wellman directs superbly, with a big ensemble in such a small area (Ox-Bow), he manages to get the right blend of emotive reactions from the leading players. Henry Fonda as Gill Carter is perfectly sedate and compassionate, even though he is far from being a flawless character, Dana Andrews as Donald Martin is heart achingly real, while others like Frank Conroy as Major Tetley are suitably full of ignorant bluster. It's quite an experience to see Wellman pull them all together with so much style. The photography from Miller is excellent, shadowy low tone black and white that is in keeping with the downbeat nature of the film, it infuses the picture with a gritty hard bitten noirish look. While Mockridge scores it suitably as sombre. Ultimately it's the story that triumphs the most, claustrophobic in nature, it is simple yet tragic as it spins out to tell us how a group of seemingly sane individuals turned out to be a mass of incoherent reasoning. When a letter is read out during the finale, it is devastating in its effect, we see men broken, heads bowed in shame, others heavy in heart, their lives never to be the same. The emotional whack is hard hitting, and rightly so. For this is unashamedly a message movie, and a worthy one at that, so much so its reputation has grown over the years, where both the film and novel have made it into some educational curriculum's. It's very much a landmark Western, by choosing to forgo action for dark characterisations, it opened up the Western genre to being more than just shoot-outs and trail blazing. Had it been made seven or eight years later I think it would have garnered higher critical praise. In spite of being one of Fonda's favourite movies that he made, the film didn't make money. The public were not quite ready for such sombre beats (Orson Welles, tellingly I feel, loved it), the critics of the time were irked by Wellman's decision to film the key trial and lynching sequences on the stage. Yet the closeness this gives the narrative serves it well, thrusting the many characters close together so they, and us, can see the whites of everyone's eyes, this is about focusing on the faces of those about to commit a capital crime. The close confines also gives off a pervasive sense of doom, where pessimism seeps through, there is no short changing here, the makers are dealing in bleakness and the right choices are made to produce one of the finest and most upsetting exponents of mob mentality played out on film. 9/10
When "Larry Kincaid" is shot, the townsfolk rise up and decide to pursue the killers. Led by Confederate officer "Tetley" (Frank Conroy) they alight on three folks in the wilderness moving some cattle. It seems that these three had recently been with "Kincaid" and so a kangaroo court is duly assembled with a view to lynching them. William Wellman now develops one of the most tautly presented half hours of cinema I've ever seen. The posse have no evidence, but will they be persuaded by the protestations of innocence from "Martin" (Dana Andrews) and his companions, including Anthony Quinn's "Martinez"? The tension is palpable as old man "Davies" (Harry Davenport) tries to be the voice of reason and "Art" (Harry Morgan) and "Carter" (Henry Fonda) wrestle, too, with their consciences. It's a shocking indictment of mob justice, and the dialogue and overall look of the film really build well as what seems inevitable edges nearer and nearer. The ending has a twist that provides food for thought for all concerned (including the audience) and has something of the "Forgive them father..." about it, too. Fonda takes top billing, but Conroy's performance is probably the most enthralling - brutality in a finely tailored uniform.
Stefan and Dolly Oblonsky have had a spat and Stefan has asked his sister, Anna Karenina, to come down to Moscow to help mend the rift. Anna's companion on the train from St. Petersburg is Countess Vronsky who is met at the Moscow station by her son. Col. Vronsky looks very dashing in his uniform and it's love at first sight when he looks at Anna and their eyes meet.
In the 1820s, a frontiersman, Hugh Glass, sets out on a path of vengeance against those who left him for dead after a bear mauling.
Helen Alving leads an outwardly contented life. On the eve of the 10th anniversary of her husband's death, she is about to open an orphanage as a memorial to him. To mark this occasion, her bohemian painter son Oswald has returned from Paris. Helen plans to take the opportunity to tell Oswald the truth about his father. But ghosts of the past erupt during an eventful evening, bringing the facade of civilised family life crashing down.
A story of love and honor that takes place during the mid-nineteenth century during revolutions, as well as economic, political, and social hypocrisy. Two extraordinary but lonely artists share a passionate love, as evidenced by the preserved letters that they exchanged.
An intense and imaginative artist, revered Dutch painter Vincent van Gogh possesses undeniable talent, but he is plagued by mental problems and frustrations with failure. Supported by his brother, Theo, the tormented Van Gogh eventually leaves Holland for France, where he meets volatile fellow painter Paul Gauguin and struggles to find greater inspiration.
The young Bavarian princess Elisabeth, who all call Sissi, goes with her mother and older sister Néné to Austria where Néné will be wed to an emperor named Franz Joseph, Yet unexpectedly Franz runs into Sissi while out fishing and they fall in love.
William Munny is a retired, once-ruthless killer turned gentle widower and hog farmer. To help support his two motherless children, he accepts one last bounty-hunter mission to find the men who brutalized a prostitute. Joined by his former partner and a cocky greenhorn, he takes on a corrupt sheriff.
Two warriors in pursuit of a stolen sword and a notorious fugitive are led to an impetuous, physically-skilled, teenage nobleman's daughter, who is at a crossroads in her life.
A fictionalised exploration of Beethoven's life in his final days working on his Ninth Symphony. It is 1824. Beethoven is racing to finish his new symphony. However, it has been years since his last success and he is plagued by deafness, loneliness and personal trauma. A copyist is urgently needed to help the composer. A fictional character is introduced in the form of a young conservatory student and aspiring composer named Anna Holtz. The mercurial Beethoven is skeptical that a woman might become involved in his masterpiece but slowly comes to trust in Anna's assistance and in the end becomes quite fond of her. By the time the piece is performed, her presence in his life is an absolute necessity. Her deep understanding of his work is such that she even corrects mistakes he has made, while her passionate personality opens a door into his private world.
A western in which Calamity Jane's rightful ownership of a gambling hall is challenged. She nearly loses the business to a shady crook, but Texas lawyer Ellison puts up a legal battle to help her stay in charge. After a sensational fight, the letters proving her right are discovered.
A rustic comedy about a small-town bowling alley entrepreneur who learns that being scammed is not the end of the world.