At every turn, what Mari discovers is a lack of urgency about, if not outright indifference to, her daughter’s disappearance, even after other bodies are found in the very same area. The film’s gimmick is that said drinking establishment is actually located in New Orleans, and its patrons have been cast to play improvised versions of themselves—a formal approach that allows the directors to faithfully capture the entire spectrum of sloppy, joyful, self-pitying, antagonistic and regretful emotions that invariably materialize in (and define) such a joint. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself. - Watch full episodes of your favorite series and shows. Benjamin Ree’s intriguing The Painter and the Thief tells the tale of their unlikely relationship from both of their perspectives, charting its ups and downs with formal astuteness and inviting intimacy. 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. A dramatic account of the historic embezzlement scandal that engulfed Tassone and his colleagues – most notably, assistant superintendent Pam Gluckin (Allison Janney) – Cory Finley’s film (based on Robert Kolker’s New York Magazine article) is a ruthlessly efficient and even-keeled affair about the intense pressures of suburban academia, where educational-ranking achievements and college acceptance rates are intimately intertwined with real-estate prices. A nighttime race through Manhattan in an old-school sports car is the material’s comedic high point, and contributes to the warmth and affection that Coppola showers upon her metropolitan setting, here envisioned as a dreamy wonderland full of intrigue, adventure and alternately enervating and enlivening domesticity. 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. The mythic quality of the Cordillera – the towering eastern stretch of the Andes mountains that serves as both a protective and isolating barrier for the city of Santiago – is harmonized with the grand, destructive illusions of Chile’s Pinochet regime in The Cordillera of Dreams, documentarian Patricio Guzmán’s personal rumination on his homeland’s tumultuous history, and his relationship to it. • 7 days schedule for MBC2 & MAX movies. 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. Keep track of your favorite shows and movies, across all your devices. • Chat: Under every movie there is a chat icon which leads to chat with app users who are interested/talking about the movie. It’s an acute snapshot of the American democratic process as filtered through an alternately inspiring and horrifying Lord of the Flies lens. 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). 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. 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. Enjoy the below features in MBC3 application: - Check the application without creating an account. His despairing condemnation is all the more wrenching for coming via a deeply empathetic portrayal of an everyday clan buckling under the strain of unjust forces out of their control. The most coveted of those positions is governor, which pits progressively oriented Steven against conservative Eddy in a battle that echoes those being waged in the corridors of Washington, DC power today. By means of a job coaching his Catholic alma matter’s struggling team, Jack is blessed with a shot at salvation, turning around the fortunes of his players and, by extension, his own life. Not just a portrait of Neulinger’s internalized misery, it’s also a case study of how sexual misconduct is a crime passed on from generation to generation, a fact borne out by further revelations about his father’s upbringing alongside his assaultive brothers. 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. Home is where the Devil is in The Dark and the Wicked, as siblings Louise (Marin Ireland) and Michael (Michael Abbot Jr.) discover upon returning to their parents’ rural farm to tend to their ailing bed-ridden father (Michael Zagst) and distraught mother (Julie Oliver-Touchstone). 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. Though the results aren’t as dynamic as their prior collaboration, Coppola’s fizzy romantic drama nonetheless finds its headliner in outstanding form as Felix, the suave ladies-man father to Laura (Rashida Jones), with whom he embarks on an investigation into the possible two-timing proclivities of her husband Dean (Marlon Wayans). Few films are this tough to sit through—or difficult to forget. Dramas don’t come much bleaker than Beanpole, director Kantemir Balagov’s wrenching story about the damage caused by war, and the exceedingly high cost of survival. Rich in agonized angst and formal flourishes, it’s a masterwork of unhinged tone, as well as a showcase for Buckley, whose grand performance covers an expansive stretch of emotional terrain. Thursday, December 24, 2020 Last Update: 3:16 AM . Rarely has a film expressed so much bountiful love for its subject as Kirsten Johnson’s Dick Johnson is Dead does for its center of attention, Johnson’s elderly father Dick, a career psychologist who in 2017 begins suffering from the same sort of mental deterioration that consumed his Alzheimer’s-afflicted wife. 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. Now you can follow MBC3 anywhere, anytime to watch all your favorite episodes, best clips and play more than 200 games through one application. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Florian Zeller’s The Father conveys the terror, fury and anguish of dementia from the inside-out, assuming the unreliable and fragmented perspective of its protagonist, Anthony (Anthony Hopkins), until the boundaries between reality and delusion are as bewildering to us as to him. 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. Rife with betrayals, manhunts and shootouts, the auteur’s narrative is constantly taking sharp, unexpected turns, and the same is true of his breathtaking direction, which reveals unseen figures, and twists, via elegant camerawork and expressionistic flourishes that are married to a realistic depiction of rain-soaked Wuhan and its lawless lakeside communities. What it instilled in them was a sense of self-worth, as well as indignation at the lesser-than treatment they received from society. Writer/director Bryan Bertino once again takes a simple premise and maximizes it for unbearable tension, drawing out white-knuckle suspense from Louise and Michael’s efforts to grapple with tragedy (and impending loss) while simultaneously reckoning with unholy forces beyond their comprehension or control. Tom Hardy’s gift for hulking intensity and charismatic growling are in full effect in Capone, a fictionalized account of the last year in the life of the legendary American gangster. Using Robert Kolker’s book as her source, director Liz Garbus recounts Mari Gilbert’s (Amy Ryan) efforts to find her oldest daughter Shannan, a prostitute, after she vanished following a house call in a gated Long Island community. As hardships mount, Loach incisively details the major and minor ways in which this contractor-oriented paradigm is fundamentally rigged against workers. In the hope of rekindling old relationships, acclaimed author Alice Hughes (Meryl Streep) invites her college friends Roberta (Candice Bergen) and Susan (Dianne Wiest) on a Queen Mary 2 cruise to England to receive a literary prize. Hunted by police captain Liu (Liao Fan), Diao’s protagonists are engaged in a deadly game that’s played in silence because they all inherently know the rules, and their sense of purpose is echoed by the film itself, which orchestrates its underworld conflicts with bracing precision. 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. Director Pietro Marcello’s adaptation of Jack London’s caustic 1909 novel relocates its action from America to Italy (circa the decades between World War I and II) to follow the tumultuous trajectory of Martin Eden (Luca Marinelli), a lowly sailor inspired by his aristocratic paramour Elena (Jessica Cressy) to embark on an autodidactic quest to elevate himself educationally, culturally and politically. Every performance is magnificent, but no one in the cast stands taller than the diminutive Kim, whose turn is irresistibly authentic and charming. For this fourth and ostensibly final installment, the bickering couple (Coogan arrogant and condescending; Brydon cheery and patient) enjoy fine meals and show off their imitative vocal skills, here highlighted by Coogan doing a pitch-perfect Ray Winstone as King Henry VIII. Seemingly riffing on Coppola’s own famous dad Francis, Murray is a charming force of nature as an incorrigible lothario at once devoted to his mother-of-two kid and wholly, hilariously consumed with himself, and his performance does much to enliven this breezy saga about Laura’s mid-life crisis. Taking the form of a black-and-white film from the 1940s, Fincher’s inside-baseball character study scrutinizes the marriage of movies and politics, and the push-pull between self-destruction and creativity, through the lens of Mank (Gary Oldman), whose story flip-flops between his time in a ranch house writing Orson Welles’ (Tom Burke) masterpiece and his prior relationships with William Randolph Hearst (Charles Dance) – the inspiration for Kane – and the mogul’s mistress, actress Marion Davies (Amanda Seyfried). Father Soldier Son spends ten years with the Eisch clan as they struggle to overcome various hardships wrought by military service, as the now-disabled Brian grapples with depression and loss of identity, and his boys come to grips with a new, strained reality that permanently alters their emotional and psychological outlook on their own situations, and plans for the future. When her son was only a toddler, … Autobiographical tales of trauma don’t come much more wrenching than Rewind, director Sasha Neulinger’s non-fiction investigation into his painful childhood. 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’s gnarly, unnerving texture to everything in this unhinged film, which fragments and reforms like a nightmare born from the darkest recesses of the mind. The Channel offers a wide var... See More. 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. Adapted from Jerzy Kosiński’s celebrated 1965 novel of the same name, Marhoul’s film is a harrowing saga about an unnamed Jewish Boy (Petr Kotlár) who, during WWII, is subjugated to every depraved indignity under the sun at the hands of various Eastern European villagers with whom he temporarily stays. Through use of piercing close-ups, grainy archival clips, and an agile editorial structure, director Marcello infuses his action with hard-edged lyricism, equally rugged and romantic, enlivening and ominous. Directing his first feature since being booted off of 1996’s The Island of Dr. Moreau, Richard Stanley brings trippy majesty to his adaptation of Lovecraft’s short story about a family – led by Cage’s cassoulet-cooking dad and Joely Richardson’s breadwinning financial-whiz mom – whose lives in rural Arkham are upended after a meteor crashes in their backyard, spawning menacing magenta foliage, absorbing lightning, and radiating not-of-this-Earth colors. 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