#film-review

#film-review

Rental Family: Struggling American actor Phillip sees his TV and film gigs in Japan dry up so he turns to a different kind of performing job working at a thriving business where customers hire someone to perform a specific role. The assignments range from being a mourner, a friend, a groom, the other lover and, in one case, a father figure to a girl named Mia whose stressed-out mom needs a husband to increase her odds of getting into a prestigious school.

The long and fabled history of Monty Python has now reached its footnotes and afterthoughts era. After years of interpersonal disputes, multiple forays into the culture war and one very expensive divorce, 85-year-old John Cleese goes solo with a thin 80-minute travelogue, undertaking a European mini-tour while enduring a roll call of ailments (partial deafness, bone spurs, vertigo) which appears at least as substantive as his onstage material.

But Jeffrey Manchester, the robber known as "Roofman," made headlines for being unusually polite when he executed his misdeeds. After he surprised McDonald's employees by dropping in through the roof-hence his nickname-and holding them at gunpoint, he gently reminded one of them to breathe while they collected cash. Before he locked them in the walk-in refrigerator, he made sure that they had coats to wear so they'd be comfortable in the cold.

The new film Moss & Freud opens with Kate Moss (Ellie Bamber) hurtling down the motorway, cigarette in hand, blond hair whipped back, redoing her lipstick in the rear-view mirror like a Hitchcockian anti-heroine. When sirens peal behind her and the police pass, Moss cackles. This sequence establishes the film's fixation as being on the model and unlikely, one-time muse of Lucian Freud (here Derek Jacobi), rather than on the artist. Sadly, it has little to say about either subject-or Freud's self-proclaimed search for "truth"

Howard assembles an impressive cast, though it isn't always enough to make up for the overambitious plot of a film that drags in the middle. Yet the historical resonance, which could have provided pointed commentary on the parallels between today and the 1920s, falls flat amid the film's overlong runtime, unlikable characters and shaky accents that most actors stumble in and out of. In the midst of the film's crafted chaos, the story inevitably loses focus.

Master and Commander is an impeccable adventure movie worth revisiting via its new 4K Ultra HD re-release, showcasing naval supremacy during the Napoleonic Wars.

Lydie's joyous pregnancy announcement contrasts with Agnes's unresolved trauma, showcasing the impact of past events on the present and her struggle to navigate friendships.

Eva Victor's feature debut, Sorry, Baby, addresses trauma through the lens of a queer friendship, portraying how bonds can nurture and heal.

Despite featuring a star-studded cast, 'Jurassic World: Rebirth' fails to deliver substantial impact, relying on a tired formula that lacks originality.

Appropriately jolting and surprisingly fun to watch, 28 Years Later's prologue introduces viewers to the terrifying yet entertaining world of flailing 'Infected'.

Dysfunctional parents, a pining girlfriend, falling for a straight guy - the overcrowded gay coming-out genre often feels repetitive and stale.

If you're looking for something to scratch a Die Hard itch, that is certainly what Last Resort is trying to do, but there are many superior Die Hard rip-offs available.