Charlie Kaufman once again descends into a surrealistic pit of death and despair with his adaptation of Iain Reid’s 2016 novel, which charts a road trip by Jake (Jesse Plemons) and his girlfriend (Jessie Buckley) to his parents’ rural farmhouse home. At once an alternately joyous and distressed confrontation of mortality and impending grief, not to mention a celebration of the cinema’s (illusory, and yet magical) capacity to combat time and fate, Johnson’s follow-up to Cameraperson is a uniquely warts-and-all portrait of facing the inevitable with courage, creativity and devotion. Politics are chaotic, combative and undertaken by both true believers and amoral schemers—a state of affairs depicted in starkly microcosmic terms by Boys State. Guided by a loose, jazzy, improvisatory spirit, Ferrara’s quasi-autobiographical drama charts its protagonist as he works on a new project, teaches acting classes, attends AA meetings, and spars with his 29-year-old bride Nikki (Cristina Chiriac), whose father issues are at the root of her marriage to a much older man, just as Tommaso’s desire to remain a vital presence in daughter Deedee’s (Anna Ferrara) life stems from his own prior parental failures with his adopted children. 55 Gifts Your Wife Will Actually, Truly Like, 25 Last-Minute Gift Ideas for Everyone, Any Time, Save Time and Unearth a Gift for Him on Amazon, This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. Acting doesn’t come much bolder and more blistering than in Ma Rainey’s Black Bottom, George C. Wolfe’s adaptation of August Wilson’s 1982 play about a 1927 Chicago recording session by real-life blues legend Ma Rainey (Viola Davis) and her backing band, comprised of trombonist Cutler (Colman Domingo), bassist Slow Drag (Michael Potts), pianist Toledo (Glynn Turner) and trumpeter Levee (Chadwick Boseman). Over the course of one sloshed 24-hour period, Bloody Nose, Empty Pockets evokes a pitch-perfect sense of its going-to-seed milieu and equally haggard visitors, with former actor-turned-floor sweeper Michael proving the weary epicenter of its laid-back action. Now you can follow MBC3 anywhere, anytime to watch all your favorite episodes, best clips and play more than 200 games through one application. On its surface, Nomadland is a simple story about a middle-aged woman named Fern (Frances McDormand) who, after losing her husband (to disease) and her home (to the closing of a plant and the town it supported), embarks on an itinerant life across the American plains. When her son was only a toddler, … From a witch-y medicine woman who buries him up to his neck (the better to let the crows peck at him) and a bachelor (Julian Sands) with pedophilic inclinations, to a violently jealous old man (Udo Kier) and a young girl with bestial desires, the individuals whom the Boy comes into contact with are a wild, wicked bunch. Using cheery smiles and go-getter glares to conceal profound depths of resentment, ambition and greed, Hugh Jackman gives the performance of his career as Roslyn, Long Island public school superintendent Dr. Frank Tassone in Bad Education. Staged on a massive scale, overflowing with nattily dressed heroes and villains, and set to an unnervingly blaring electronica score by Ludwig Göransson, it’s a temporally wonky spectacular to be experienced rather than lucidly understood. Plus find clips, previews, photos and exclusive online features on NBC.com. There’s no filmmaker working today more adept at generating scares via the sudden appearance of shadowy background figures, or at prolonging sequences to their nerve-wracking breaking point. At its midway point, McQueen’s film becomes a straightforward courtroom drama about the fight against prejudice and for justice. Framing characters amidst forest greenery or through constricting cabin windows, and setting its action to the serene sounds of its rural environment – snapping twigs, chirping birds, running water, human breath – it’s an empathetic vision of profound male friendship and perilous capitalist enterprise. For New Orleans paramedics Dennis (Jamie Dornan) and Steve (Anthony Mackie), life has turned out to be an unexpected disappointment, and their discontent with their disparate stations in life (Dennis is an unhappy husband and father; Steve is a lonely and aimless ladies man) is amplified by a spate of deaths that seem to be related to a new synthetic drug called synchronic that causes Dennis’ 18-year-old daughter to disappear. Throw in nods to Apocalypse Now, The Bridge on the River Kwai and The Treasure of the Sierra Madre, and you have an epic that’s bursting at the seams, occasionally to its overstuffed detriment. The director lays out the myriad forces at play in this ostensibly picture-perfect milieu in exacting detail, and his preference for longer takes means that the focus remains squarely on his performers. MBC Movie Guide – check movie times, watch trailers, plan your movie nights. Sharply incorporating closed-captioning into its storytelling, it’s a quiet-LOUD-quiet portrait of finding peace in the present stillness. Although most were viewed on inadequately small screens, the legion of fiction and non-fiction releases that helped us cope with our pandemic-wracked reality delivered welcome doses of excitement, drama, terror, and humor. Forced to flee their native land by inter-tribal warfare, and then compelled to assimilate in a foreign environment where locals glare at them with suspicion and revulsion, the couple prove figuratively homeless no matter which way they turn. Werner Herzog is non-fiction cinema’s foremost philosopher poet, and with Nomad: In the Footsteps of Bruce Chatwin, he pays reverent tribute to his celebrated writer friend Bruce Chatwin, who passed away from AIDS in 1989, and whose 1980 novel The Viceroy of Ouidah was the basis for Herzog’s 1987 film Cobra Verde. Kurosawa repeatedly frames Yoko amidst enormous, enveloping crowds, the better to suggest her feelings of isolation and confusion. daughter. Diao’s neo-noir follows a gangster named Zhou Zenong (Hu Ge) who, after killing a cop in a criminal enterprise gone awry, partners with a “bathing beauty” prostitute named Lu Aiai (Gwei Lun Mei) in order to reunite with his estranged wife Yang Shujun (Wan Qian), all so she might collect the reward on his head. With a stony countenance and dark eyes that mask his interior thoughts, Ahmed is a chilling protagonist in thrall to a rigid ideology that preaches violence against all heretics. Unifying its scenes of public service via flowing transitional montages of city streets, and routinely featuring committed and candid Mayor Marty Walsh as its nominal “protagonist,” his doc pays tribute to the act of listening, and engaging in constructive conversation, as a vehicle for progress. Even amidst such insanity, however, the filmmaker never loses sight of his characters’ humanity, nor their humorousness, be it Tommy Chong’s local squatter or Cage’s paterfamilias, a dork prone to fits of rage and weirdness – such as when he demonstrates the proper way to milk an alpaca. Also fixing its gaze on a one-legged chicken cautiously trudging through tall grass, and a herd of cows whose dark, mysterious eyes gaze intently at the camera, Kossakovsky’s dialogue-free portrait conveys essential truths about survival, togetherness and love through protracted takes that creep around and alongside its four-legged subjects. Bolstered by Dirisu and Mosaku’s heartfelt turns as lost souls desperate for forgiveness and peace, it’s a film whose haunting, dreamlike terror proves an expression of lingering trauma. Gaslighting gets downright monstrous in The Invisible Man, a 21st-century take on Universal’s classic unseen specter. Historical changes often have humble beginnings, as was the case with the American Disabilities Act (ADA), whose origin is Camp Jened, a 1970s summer getaway for disabled men and women in New York’s Catskill mountains. Ryan’s powerhouse performance as the fiercely determined Mari is the nucleus of this dispiritingly bleak tale, in which there are few concrete answers to be found, but plenty of blame to pass around. 20,633,231 people follow this. That the Russian-controlled state is on a genocidal mission to “cleanse the blood” of the nation by exterminating its homosexual population is a terrifying reality brought to light by France, who details the efforts of these brave souls to use subterfuge to sneak at-risk individuals to safer European enclaves. No matter its conventionality, however, Parkes’ heartfelt performance as Crichlow, a man who wanted to realize a dream and came to understand that he’d created a vital hub for his community, is so enraged and aggrieved that, alongside Letitia Wright’s turn as Altheia Jones, it invigorates this legal affair. In this empathetic portrait of the scars of war, there are profound truths about grief, survival, and the ingrained patterns of our lives. Crucifixes and fire are twin motifs underscoring this gorgeously austere, bleak tale about intolerance, oppression, dehumanization and the scarring struggle to survive, which descends into darkness with its haunted eyes wide open. Nonetheless, the alternately combative and chummy English pair remain in fine, funny form, and their swan song proves to be their most substantive collaboration since their maiden outing. Ammonite takes a few dramatic liberties in painting a picture of the affair between real-life self-taught paleontologist Mary Anning (Kate Winslet) and younger married Charlotte Murchison (Saoirse Ronan). Search form. The group has a plethora of channel ranging from … Perkins sticks relatively closely to his source material’s narrative while nonetheless reshaping it into a story about feminine might and autonomy, and the potential cost of acquiring both. Most of all, though, it’s a saga about perseverance and bravery, two qualities that Neulinger – then, and now – exhibits in spades. Less a definitive answer to the question “Who deserves credit for Citizen Kane?” than a fictional drama about Herman J. Mankiewicz’s struggle to complete his most famous screenplay in a Hollywood torn between art and commerce, David Fincher’s Mank is a poison pen letter to the golden-age era that it channels with every one of its gorgeous chiaroscuro images, Bernard Herrmann -esque soundtrack notes, and artificial reel-change cigarette burns. Whether being chastised by her boss (who’s only heard in hushed phone calls), or sharing quiet, pointed glances with her female colleagues, Jane is a victim of both exploitative men and, just as severely, a corrupt institutional structure that perpetuates itself by fostering cutthroat ruthlessness and alienating silence. MBC’s Shahid is now available on all mainstream smart TV brands and connected streaming devices, the streaming platform has announced. Cookie and King Lu’s attempt to rise above their socio-economic station through a criminal scheme, and the potential disaster that awaits them, is the suspenseful heart of this tranquil quasi-thriller, which – awash in redolent faces, gestures and customs – imparts an understated impression of the forces propelling its characters, and the pioneering nation, forward. A gentle film that radiates overpowering compassion for its characters and their plights, writer/director Lee Isaac Chung’s Minari charts the 1980s endeavor by Korean husband/father Jacob Yi (Steven Yeun) to make something of himself by starting a farm in rural Arkansas – an American dream that worries his wife Monica (Han Ye-Ri), and poses challenges for his daughter Anne (Noel Kate Cho) and son David (Alan Kim), the latter of whom suffers from a potentially fatal heart condition. Yet as evidenced by the numerous gems that arrived over the course of the past twelve months, cinema remains as vital as ever. TV Guide MBC MAX Channel - Movies - Frequency، Showtimes. Kitty Green’s The Assistant is the first great #MeToo film, a scathing look at the mundane day-to-day ways in which gender-imbalanced abuse and unfairness are built into workplace systems. Those sequences, as well as a disaster-wracked finale, also capture her gnawing anxiety about finding her way – an issue that also pertains to her dream of becoming a singer, which manifests itself in two separate fantasy sequences that prove highlights of Kurosawa’s idiosyncratic latest. Those jaw-dropping sights alone make Nelson’s latest a must-see. Shot in alternately tremulous and composed handheld, director Balagov’s long takes place a premium on close-ups, the better to convey the dizzying anguish of his subjects, who are as decimated as their environment. Utilizing a variety of disguises to mask his (fictional) identity – because everyone, by now, recognizes him on-sight – Borat reaffirms his status as cinema’s clown prince of pranksterism, culminating with a Rudy Giuliani interview that has to be seen to be believed. - Watch full episodes of your favorite series and shows. Lapunov’s courageous desire to legally strike back at the system is one of many threads exposing the fascistic new Final Solution being perpetrated by Putin-backed Chechen leader Ramzan Kadyrov. Community See All. Nonetheless, writer/director Francis Lee’s film follows in the grand tradition of The Age of Innocence in recounting its protagonists’ flowering relationship, which is complicated by not only the women’s different dispositions and situations, but by a society that prevents them from expressing their amour. This was, in many respects, a year to forget—but not so when it came to film. Search Everything is connected in this economical and thrilling sci-fi saga, as the writer/directors – aided by understated performances from their Hollywood leads – deliver a unique vision of intertwined fates, the links between the past and the future, and the importance of cherishing the present moment. That, in turn, compels him to become a writer who rails against capitalism and socialism (which he views as two sides of the same master-slave coin) and champions a Nietzschean individualism that alienates him from virtually everyone. A descendant of Jan Švankmajer and the Brothers Quay, Cristóbal León and Joaquín Cociña’s The Wolf House is a mesmerizing stop-motion storybook fable about a young girl named Maria who flees her Chilean-situated German colony (based on the notorious real-life Colonia Dignidad, formed by ex-Nazis) and, to protect herself from a predatory wolf, takes refuge in a house in the woods. Wolfe keeps the material spry and sensual (as well as explosive) by keeping his roving camera trained on his stars, who swing for the fences with ferocious gusto. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. You can enjoy a lot of Hollywood movies on this station. Judi Dench; Steve Coogan; Sophie Kennedy Clark; Mare Winningham; Falling pregnant as a teenager in Ireland in 1952, Philomena...Read more (Judi Dench) was sent to the convent of Roscrea to be looked after as a “fallen woman”. - Watch full episodes of your favorite series and shows. The symbiotic relationship between man and machine is the foundation upon which Cronenberg constructs a dark, demented story about performance, and the effect it has upon the performer’s sense of self, which truly comes to the fore when Tasya’s latest vessel—Colin Tate (Christopher Abbot), boyfriend to the heiress of a data-mining mogul (Sean Bean)—turns out to be a less-than-compliant instrument of death. Willem Dafoe gives a raw, unvarnished performance as a proxy for Abel Ferrara in the writer/director’s Tommaso, the story of an American filmmaker named Tommaso now residing in Rome with his young wife and child. Plus, it boasts 2020’s most gruesomely inventive use of an umbrella. Epitomized by Jane’s meeting with a cruelly calculating human resources rep (Succession’s Matthew Macfadyen), whose threats are all the more harrowing for being both implied and logical, it’s a portrait of sexism’s many insidious forms. 20,404,979 people like this. Yakin’s sinuous, passionate indie is as entrancing as it is daring. A channel specializing in foreign movies. With modern economic and social dynamics as its narrative backdrop, Zhao’s film locates beauty, fear, danger and quiet euphoria in Fern’s wandering search for contentment, which proves that being alone and being lonely aren’t always the same thing. A bright and playful kid, Neulinger soon morphed into a person his parents didn’t recognize – a change, they soon learned, that was brought about by the constant sexual abuse he (and his younger sister Bekah) was suffering at the hands of his cousin and two uncles, one of whom was a famed New York City temple cantor. Putting a poignant face on a contentious social topic, Never Rarely Sometimes Always tells the story of pregnant Pennsylvania 17-year-old Autumn (Sidney Flanigan), who with her loyal cousin Skylar (Talia Ryder) by her side, travels to New York to procure an abortion. In a 1945 Leningrad still recovering from the end of WWII, lanky Iya (Viktoria Miroshnichenko), aka “Beanpole,” works as a nurse even though her military service has left her with a condition in which she becomes temporarily frozen. McDormand constructs a towering performance from subtle gestures and expressions, her Fern at once a part of the expansive landscapes in which she roams—and the band of fellow nomads she befriends, including David (David Strathairn)—and yet also separate from them. Brown stages his mayhem with assured efficiency, creating an air of impenetrable mystery through uneasy silence, compositions that devolve into cascading bubbles and a squishy foot-surgery sequence that would make body-horror maestro David Cronenberg proud. Directors Jesse Moss and Amanda McBaine’s documentary follows a number of kids as they make their way through Texas’ week-long Boys State program (sponsored by the American Legion), in which hundreds of teenagers are split into two political parties (Federalists and Nationalists) and asked to create a unified platform and elect officials. - … From email pen pals, to husband and wife, to estranged exes, Eden and Aviva’s love story is told from both external and interior vantage points. There may be no more suspenseful moment in cinema this year than the sight of David running after Soon-ja – nor one more affecting. Deepfake technology gets a stunning workout in Welcome to Chechnya, as documentarian David France uses the face-transforming device to mask the identities of his subjects: a group of LGBTQ+ activists intent on smuggling gay men and women out of their native Chechnya before the government can kidnap, torture and murder them. In the ensuing weeks, 37 more burn victims perished due to bacterial infections at local hospitals, which journalist Catalin Tolontan and his colleagues soon link to a widespread scandal involving diluted disinfectants, gangster hospital managers, and amoral bribery and profiteering that incoming health minster Vlad Voiculescu is tasked with cleaning up. Nick Schager is a NYC-area film critic and culture writer with twenty years of professional experience writing about all the movies you love, and countless others that you don’t. Adapted from Jonathan Raymond’s novel The Half Life, Reichardt’s slow-burn drama focuses on a nomadic 1820s chef named Cookie (John Magaro) who, after arriving at a Pacific Northwest fort, befriends and goes into business with on-the-run Chinese loner King Lu (Orion Lee), baking and selling popular “oily cakes” made with milk stolen from a dairy cow owned by wealthy Chief Factor (Toby Jones). Hewing closely to its source material, the film charts Emma Woodhouse’s efforts to find a suitor for her doting companion Harriet Smith (Mia Goth) while struggling with her own blossoming feelings for her sister’s brother-in-law, George Knightley (Johnny Flynn). • Watch List: add any movie to watch list and set a reminder. The murderous threesome seems to have leapt to life from a painted music box coveted by the couple’s child, thereby casting the proceedings as a symbolic portrait of heartache as a never-ending predator intent on destruction. Launched in 2003. Bio-terror comes in corrupting forms in The Beach House, whose contagion-based scares speak, subtly if severely, to our present moment. This subterfuge is demanded by Cristi’s gangster bosses, with whom he’s both in league with and tasked with nabbing by his law enforcement chief Magda (Rodica Lazar). There may be no more joyous 2020 cinematic scene than the closer of Thomas Vinterberg’s Another Round, a sloshed dramedy about four Copenhagen teachers’ attempts to reinvigorate their moribund lives by testing psychiatrist Finn Skårderud’s theory that humans’ optimal blood alcohol content level is .5%. MBC Movie Guide – check movie times, watch trailers, plan your movie nights Cristi’s playing-both-sides predicament is complicated by his relationship with Gilda (Catrinel Marlon), an alluring beauty whose femme fatale status is underlined by her famous noir name, and Porumboiu fractures his narrative so that chronology, like the various dialects employed by his characters, comes across as intricately coded. 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