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Inspired by Jessica Pressler's "The Hustlers at Scores," which details a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients.
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Based on life of Patna-based mathematician Anand Kumar who runs the famed Super 30 program for IIT aspirants in Patna.
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Simba idolises his father, King Mufasa, and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub's arrival. Scar, Mufasa's brother—and former heir to the throne—has plans of his own. The battle for Pride Rock is ravaged with betrayal, tragedy and drama, ultimately resulting in Simba's exile. With help from a curious pair of newfound friends, Simba will have to figure out how to grow up and take back what is rightfully his.
‘The Lion King’ is a catastrophe; a new low in the ever-diminishing returns of Disney’s endless run of remakes. There’s nothing redeeming about it, with every decision either ill-conceived or mishandled to the point of incompetence. In Favreau’s hands, ‘The Lion King’ is rendered thunderously dull, lacking in any tension or complex characterisation, taking a laboriously long time to go nowhere and never once justifying its contentious existence. Even with my dislike of the original, I was flabbergasted at how thoroughly this film never attempts to understand why so many people love the 1994 film. If nothing else, this film makes it abundantly clear that Disney has no interest in making great cinema or honouring its own legacy. They don’t care whether the film is good or whether you enjoy it. All they care about is using nostalgia to trick you into buying your ticket so they can make as much money off you as they can, and maybe if they throw some recognisable iconic moments from your childhood on the screen, they may even be able to fool you into thinking you’d had a good time. ‘The Lion King’ is the ultimate diabolical apex of the commercialisation of nostalgia, and its inevitable box office success will just prove how easily we continue to be duped and how thoroughly they have trained us to not care about the quality of what we see. If this really is the future of mainstream cinema, then we are in serious, serious trouble. - Daniel Lammin
Read Daniel's full article... https://www.maketheswitch.com.au/article/review-the-lion-king-a-catastrophic-and-soulless-remake-of-a-disney-classic If you enjoy reading my Spoiler-Free reviews, please follow my blog :)
I don’t know how I should start, but I guess I’ll address something that people might ask: yes, it’s a SPOILER-FREE review. Why? Well, the story might follow the same essential plot points, and the characters might have similar narrative paths, but there are so many details that make this movie stand on its own. From tiny little improvements to moments of the original that wouldn’t make sense in a realistic environment to adjustments to character’s backstory, musical moments or other significant parts. With that said, I need to discuss the controversy surrounding this remake, but I won’t take longer than one paragraph.
People need to understand that these Disney’s remakes aren’t here to replace the originals. They’re here to honor them, and bring their stories and characters to this new century so that new generations can have an additional look at something they love, and 90s kids can remember why they love these films so much. Emphasis on the “additional” part of that sentence. Then, people also need to get their preferences right: would you want to watch a shot-for-shot remake or something entirely different? Or a blend of these two? If you don’t know what you want, you might be in danger of turning into a hypocrite if your speech goes from “I don’t want these copy-paste remakes” to “they changed that specific moment, why didn’t they keep it the same?” Just be clear on what you wish. If you simply don’t want Disney to do these remakes, then just don’t watch them. Don’t go online try to beat it to the ground with negative comments if you haven’t seen the movie. Moving on …
I love it. I absolutely love it. I cried the exact same 4 times as I did in the 1994’s original. My whole body got chills during the opening sequence, which is one of a few things I love more about the remake than in the original. It’s NOT a shot-for-shot remake! I don’t understand how so many critics are calling it so. Either people’s memory of the original faded or someone clearly didn’t watch the same film. I can write a whole review of 1000+ words just describing the new stuff. Of course, the story goes through the same iconic moments in the same way, and some dialogues are extensively repeated, which was something that I was hoping they developed more. Despite that, I still feel that the scripts have a different take on it from the voice actors, even James Earl Jones.
One proof would be that I cried on a scene that I never felt like it in the original. I don’t know if it was how it was shot (one of the various different angles that the remake provides of known scenes) or if the dialogue just has more impact this time around, but the point here is that this remake is NOT a cheap copy-paste. I always look forward to seeing what they come up with to solve or adjust some questions that the originals leave us with. Let me just write that Jeff Nathanson has some truly brilliant changes/additions. Remember people criticizing Scar’s look when the first teaser came out? With just ONE WORD, its entire physical shape, scar, and past are explained. One word. Imagine that. There are little elements like adding a word or a sentence here and there, and it makes so much more sense with the character or the story in question.
Speaking of Scar, Chiwetel Ejiofor is astonishing. Scar might be my favorite character of the remake. He’s more menacing and scarier, his voice is darker, and his arc is better explored. Jeremy Irons will always have that iconic voice associated with the character, but Ejiofor did a crazily good job in replacing him. However, if there’s one voice that I could never watch another actor do is Mufasa’s. I have no words to express how emotionally powerful James Earl Jones’ voice is. As soon as he says “Simba” in the reflection scene, my eyes drop waterfalls. His voice is an emotional trigger, let’s call it that. I love Timon (Billy Eichner) and Pumbaa (Seth Rogen) even more this time around. Their scenes are hilarious, and the characters’ relationship keeps being a standout. Oh, and if you were worried that the hula scene would never be as good let alone surpassed … You might need to rethink that. Also, I enjoyed the stretched last act (I found the original’s final battle too abrupt), and I would advise parents to be careful showing this remake to (very) young kids since the violence on display feels much more real (duh).
JD McCrary and Shahadi Wright-Joseph (young Nala) are amazing, and their voices are crystal clear while singing. Donald Glover and Beyoncé (adult Nala) are also terrific, and their voices are even better. The new music Spirit fits better in this remake than Speechless in Aladdin. Moving on to the music, it’s another aspect that I genuinely think the remake does better. Hans Zimmer proves that he can bring an old score of his back to life in a much more robust, epic, and passionate way. Every song feels more prominent, every soundtrack feels a lot more impactful and stronger. Be Prepared is the only one that goes through a significant change, and while it might sound a bit strange at first, I love it more each time I listen to it. It’s a score that will never be forgotten, and this remake just helped people remember how great it is. Oscar-winning score.
I left the best to last: the visuals. I can’t possibly describe how impressive and eyegasmic the CGI is. Animals talking was never an issue (people keep sharing GIFs or short clips and immediately started complaining that it looked awkward … a 30-seconds video without context watched on a laptop will never give you a hint of how the movie will actually be). Yes, the expressiveness of the original animation can’t be achieved, but going as far as saying that the film lacks soul or that the characters don’t emote is just inaccurate. You don’t need a PhD to understand that a lion with its ears down or up means different things. There are tiny little movements in the animals that are so complex that I’m still astounded how they were able to do it. If a bug flies near their faces, they flinch or move in such a characteristic way that I felt like I was truly watching real animals. Once again, Oscar-winning VFX.
I don’t really have major problems with it. Minor gripes with a few things, but the biggest one would be the lack of more uniqueness. There’s no element of surprise in regards to the story or the character’s decisions. We always know what’s coming, so we’re prepared (no pun intended) for anything they through at us because, well, we’ve seen it before (with the exception of one particular scene that made me jump out of my chair and I think not a single person will be able to avoid it). I find the “animals don’t emote” argument one of the biggest nitpicks in the history of cinema. It might be true that they lack the emotion of the original animation, but going as far as saying that they show absolutely no emotion is just hating for the sake of hate. Same goes for people criticizing the fact that Can You Feel the Love Tonight is sung during broad daylight … In the original, it isn’t nighttime as well.
Finally, I just want to address the “these remakes aren’t necessary / no one asked for these” discussion. No one asked for the 1994’s movie until it came out. People didn’t know they needed it. Seriously, everyone needs to realize that these remakes aren’t here to replace the originals. How many of you have watched The Lion King (1994) or showed it to someone in the past 10 years? How many times have you heard its score in the same period? I bet that most of the answers are simply “none”. That’s how important this remake is then! It makes you go back, it makes everyone remember how incredible the 1994’s film is, by keeping its essence while being able to stand on its own. Jon Favreau did a tremendous job, and I hope he gets recognized for it.
In the end, it doesn’t matter if the story is identical if we cry all the same. It doesn’t matter if we know what’s coming if we still feel nervous and worried about the characters. The Lion King (2019) is one of Disney’s best remakes so far, on par with The Jungle Book. Its VFX are game-changing, its score is more powerful and emotional than in the original, and the story carries the same heartfelt impact. James Earl Jones’ voice is everything. Timon and Pumbaa are even funnier. Ejiofor’s Scar is the best character in this remake. I have no flaws to point out, except that it follows the exact same path that the original’s story does. I wish it would be more distinct, but I can’t lie to myself, I love it deeply. One of 2019’s best movies. My #1 spot will be hard to decide… Go watch it! I can’t wait to see it again!
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Years following the events of "The Shining", an now-adult Dan Torrence meets a young girl with similar powers as his and tries to protect her from a cult known as The True Knots who prey on children with powers to remain immortal.
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After surviving an IED explosion in combat overseas, a young soldier with the Army Motorcycle Unit is medically discharged with a broken back and leg. Against all odds he trains to make an impossible comeback as a motocross racer in order to support his family.
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Casey is attacked at random on the street and enlists in a local dojo led by a charismatic and mysterious Sensei in an effort to learn how to defend himself. What he uncovers is a sinister world of fraternity, violence and hypermasculinity and a woman fighting for her place in it.
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An aging con artist cannot believe his luck when he meets a wealthy widow and marks her as his next target. But she hides a secret of her own.
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All unemployed, Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident.
What makes ‘Parasite’ so satisfying is that it commits neither error. It’s an engrossing, stylish and near perfect movie, and its underlying themes go beyond merely pointing out class exploitation to challenge the logic of capital. Though he is often juggling a mosaic of characters, themes and social issues, Bong never eschews his anarchic impulses and dark humour. It’s a movie that should be seen as widely as possible, if only so that Bong Joon-ho gets more chances to make movies for modern audiences that badly need them. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-parasite-a-bloodthirsty-and-very-funny-look-at-class-warfare
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
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When his housekeeper’s daughter is kidnapped, Rambo crosses the U.S.-Mexican border to bring her home but finds himself up against the full might of one of Mexico’s most ruthless cartels.
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Ndola, Northern Rhodesia (currently Zambia), September 18th, 1961. Swedish Dag Hammarskjöld, UN Secretary-General, mysteriously dies in a plane crash. Decades later, Danish journalist and filmmaker Mads Brügger and Swedish researcher Göran Björkdahl investigate the case looking for a definitive closure.
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American car designer Carroll Shelby and the British-born driver Ken Miles work together to battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.
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The story of the soldiers and aviators who helped turn the tide of the Second World War during the iconic Battle of Midway in June 1942.
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Photographer Stephen Wilkes creates an intimate portrait of his mentor, Jay Maisel, as he leaves the 30,000 square foot building in the Bowery that he's inhabited and filled with his eccentric collection of beautiful random objects for the last 40 years - known as 'The Bank.'
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A star athlete and top student, Luce's idealized image is challenged by one of his teachers when his unsettling views on political violence come to light, putting a strain on family bonds while igniting intense debates on race and identity.
Tense and keeps you guessing, but somehow the stakes never seem so high as to justify the level of intensity. Great performances, great dialogue, and thought provoking racial commentary make it worth seeing though.
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Four sisters come of age in America in the aftermath of the Civil War.
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During the 1980s, a failed stand-up comedian is driven insane and turns to a life of crime and chaos in Gotham City while becoming an infamous psychopathic crime figure.
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Legendary performer Judy Garland arrives in London in the winter of 1968 to perform a series of sold-out concerts.
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In 2015, the Taliban put a price on the head of Hassan, a filmmaker who was forced to flee Afghanistan with his wife and two young daughters. Using their camera phones, the fugitives show firsthand the many dangers refugees face when seeking asylum in a safe place.
Fast & Furious Presents: Hobbs & Shaw (2019) Download Full Movie Online Bluray
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A spinoff of The Fate of the Furious, focusing on Johnson's US Diplomatic Security Agent Luke Hobbs forming an unlikely alliance with Statham's Deckard Shaw.
By this point in the franchise, ‘Fast & Furious’ fans will know exactly what to expect from ‘Hobbs and Shaw’, and there’s just enough here that's fresh enough to warrant taking another ride with the series. - Ashley Teresa
Read Ashley's full article... https://www.maketheswitch.com.au/article/review-fast-and-furious-hobbs-and-shaw-very-furious-not-so-fast If you enjoy reading my Spoiler-Free reviews, please follow my blog :)
Here’s the thing about the Fast & Furious franchise: it can be dumb fun. Every movie has the right to be entertaining even if it completely disregards physics and logic… As long as it establishes its tone from the start. You can’t make an action film where the main characters survive basically everything they shouldn’t and take everything seriously. It’s not that you can’t have that mix of tones (Furious 7 did it brilliantly), but that’s reserved for some of the best movies of the year since it’s not easy (at all) to balance so many different things. Hobbs & Shaw sets its tone in the first 10 minutes, and everyone knows what they’re getting themselves into. However, it didn’t quite work for me this time…
The Fast & Furious saga is an undeniable success, even more in my country where it constantly breaks box-office records. It possesses everything a popcorn blockbuster should have: tons of action (car chases, explosions, fights, shootouts), easy-to-follow plot, and simple character development. There’s no problem in leaving your brain at the entrance of the theater for a couple of hours and just have fun. Of course, Hobbs & Shaw is ridiculous. It’s completely absurd, it has no sense of logic, and it’s unbelievable how many physics-defying sequences occur. But that’s exactly what they establish in those first few minutes, so people just need to sit comfortably and eat that whole bag of popcorn while watching the most ludicrous action on-screen.
So, if the tone is well-balanced, why didn’t I enjoy it as much as the rest? People seem to be having tremendous fun (even critics who usually demolish this type of films are liking it), so I guess I’m in the minority here, but I just found the action pretty underwhelming, and the comedy was way off for me. Granted, there are huge set pieces, and there are a couple of great action scenes, especially a motorbike-car chase between Brixton, Hobbs, and Shaw. True, there are a couple of laughs that I couldn’t contain due to how amazing Statham and Johnson’s chemistry is. Nevertheless, overall, I just don’t think it’s enough.
First of all, my main issue with the story: Brixton. Idris Elba is incredible as always, and I really want him to be the next James Bond. However, his character is so poorly written and so horribly explored that I wonder why they made him an enhanced machine with superpowers. Literally, there’s no difference between him and the other two main characters, which ultimately destroys the “superhero” vibe Elba should have. That’s the problem with having such an absurd movie: if your “heroes” are undefeatable due to their enormous plot armor, how is your “superpowered villain” different than them? If an explosion goes off with the three of them close, why do Hobbs and Shaw survive in the same way Brixton does? How does a punch from a “black Superman” has the same impact as a punch from the other two?
Then, the comedy. It’s not like I disliked Statham and Johnson bantering for five straight minutes in three different scenes. It’s just too long, and not all of the jokes land. The film itself is way too long, just over two hours. If I didn’t know about the whole Samoa sequence from occasionally seeing it on a TV spot, I would have believed the movie was about to end when it started its third act. It feels like it’s going to end, but then there’s a whole other massive action set piece to show off. For the first time in a long, long time, I almost fell asleep during the transition from the second-to-last to the last action moment. The action is also very disappointing having in mind David Leitch is directing. Too many quick cuts, and way too choppy.
Finally, there’s an attempt at the start of a romance that I won’t spoil, but … It’s not like it’s forced because it actually isn’t. It follows a logical path, characters don’t say stupid stuff to each other, and it was surprisingly being a good way of stopping to breathe and relax away from all the action. However, as the film reaches its conclusion, they ditch it altogether and never address it anymore. There’s even a line similar to “I’ll let you have a kiss tomorrow if we’re still alive”, but they never go there again. It’s like it never happened… Why? The only thing that was truly being logical and emotionally compelling is completely ignored by the end. That’s disappointing.
I don’t want to be too harsh on the movie because I do understand how entertaining and fun it might be. I’m sure audiences will love it, and fans of the franchise will love it even more. The chemistry of the cast is palpable, and everyone is terrific. Dwayne Johnson and Jason Statham are awesome as the action superstars, and they’re definitely the main source of entertainment. Vanessa Kirby is also pretty great, and I have to commend the film for keeping two spectacular cameos under wraps. You won’t believe who’s in this movie as well. There are still a couple of cool action sequences, and I did laugh more than a couple of times, so I guess it isn’t as bad as this review might transmit.
I know I’m in the minority, so I recommend all of you to go watch it and judge it for yourselves. If you enjoy absurdity, ridiculousness, and over-the-top action, as well as cheesy comedy, Hobbs & Shaw might be perfect for you. It didn’t really work for me, though. The comedy was not as good as I expected, the action is not that captivating, and Brixton is such a horribly written and unexplored character, that I kept feeling frustrated every time an action sequence ended. Go for the huge set pieces and the dumb fun, stay for the amazing cast’s chemistry. PS: if you haven’t watched Game Of Thrones by now, heavy spoilers in this film. You’ve been warned.
Rating: C
Movie Reviews Fast & Furious Presents: Hobbs & Shaw
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Jojo Rabbit is about a young boy living during World War II. His only escapism is through his imaginary friend, an ethnically inaccurate version of Adolf Hitler, who pushes the young boy's naive patriotic beliefs. However, this all changes when a young girl challenges those views and causes Jojo to face his own issues.
Movies to Watch Online - CinEleven.com is here to help you find all the movies you can legally watch in your country and make your life easier. Now, I'm going to share with you how to watch Rosie movies online. Rosie is a movie that will be released on 2019-03-08. This film spends money on production. For those of you who like the kind of action, you will definitely enjoy this movie. The duration of the movie Rosie for 86 Minutes meets your entertainment needs. Rosie will be performed by actors Sarah Greene, Moe Dunford, Ellie O'Halloran, Ruby Dunne, Darragh Mckenzie, Molly McCann and Missi Pyle who will not fail to seduce fans
A mother strives to shield her young family from their new reality when their landlord sells the property and renders them homeless.
**_A film every Irish person should watch_**
>_There were 9,987 people homeless in the week of January 21st-27th 2019 across Ireland. This figure includes adults and children. The number of homeless families has increased by 83% since January 2016. More than one in three people in emergency accommodation is a child. However, this number does not include 'hidden homelessness' which refers to people who are living in squats or 'sofa surfing' with friends. Furthermore, women and children staying in domestic violence refuges are not included in these homeless emergency accommodation counts. The_ _national figure also does not include people who are sleeping rough._
> _In November 2018, the official rough sleeping count confirmed 156 people sleeping rough in Dublin, with an additional number in the Night Café, without a place to sleep._
>[...]
>_In the past, most people using emergency accommodation were single adults. But in the last three years, there has been a rapid increase in the number of families becoming homeless, and in January 2019, there were 1,614 families accessing emergency accommodation. This includes 3,624 children._
>[...]
> _According to Focus Ireland research and analysis, the overwhelming number of families becoming homeless had their last stable home in the private rented sector, and the crisis in this sector is the immediate cause of their homelessness - landlords selling up or being repossessed, shortage of properties to rent, scarcity of properties accepting rent supplement, and high rents._
> _Most of the families becoming homeless have never experienced homelessness before and never thought this could happen to them. Thousands more families are struggling on very low incomes or social welfare and many are falling into serious housing difficulties as rents continue to rise._
>[...]
> _At the end of January 2019, there were over 893 young people (adults aged under 25) living in emergency homeless accommodation. This represents an 84% increase from January 2015. 65% of these young people live in Dublin._
>[...]
> _What you see above is the 'official' homeless figures. It is widely recognised that large numbers of young people live without a permanent home but do not enter homeless services. These young people survive by sleeping on a friend's sofa, squatting or staying in other insecure or unsafe places._
> _We know so little about the real numbers of young people facing homelessness in this way and the challenges they face that Focus Ireland has referred to them as 'the forgotten homeless'._
>[...]
> _The right to housing is recognised by the United Nations (Article 25 in the Universal Declaration of Human Rights) and the UN has been active in highlighting homelessness as a violation of human rights._
- "About Homelessness"; Focus Ireland
Tackling the current homeless crisis in Ireland, specifically in the capital city of Dublin, _Rosie_ is as relevant and timely a film as you're ever likely to see. Directed by Paddy Breathnach (_I Went Down_; _Shrooms_; _Viva_), and written by Roddy Doyle (_The Commitments_; _The Snapper_; _Family_) in his first feature since _When Brendan Met Trudy_ (2000), the film is an intimate character drama rather than an angry piece of protest cinema. Not concerned with pointing fingers at who may be responsible for this situation, examining why it is getting worse rather than better, engaging with the economic complexities, or analysing the wider socio-political implications, Doyle is instead more interested in imparting to the audience that homelessness could happen to almost anyone. Rather than evoke ire, he wants to evoke empathy, something that is, sadly, often lacking in our inured social media-obsessed society. One need only look at some of the comments on previews of the film to see what many people really think about the homeless – in short they're all lazy scumbags looking for a handout; one particular comment was, "why would I want to see a film about wasters on the dole trying to con themselves into a gaff?" For whatever reason, Irish society in general, and Dublin in particular, has become one of great bitterness, void of empathy for those struggling on the margins, and this film tries to go some way to addressing that. Unfortunately, the lack of major stars, the almost non-existent advertising campaign, and the grim subject matter will hamper its commercial prospects, and whilst I'd love to say this is going to be the Irish equivalent of Ken Loach's _Cathy Come Home_ (1966), enacting change on a grand scale, the chances are it will pass from cinema screens without much of an impact. Maybe if there was a superhero in it, more people would go to see it. Whatever the case though, irrespective of its commercial achievements, or lack thereof, _Rosie_ is an exceptionally well made film.
As with much social realist cinema, _Rosie_'s plot is simplicity itself. Set on Dublin's Northside over the course of roughly 36 hours (from 16.30 on a Wednesday afternoon through to the early hours of Friday morning), the film tells the story of the Davis family; mother Rosie (Sarah Greene), father John Paul (Moe Dunford), and four young children - thirteen-year-old Kayleigh (Ellie O'Halloran), eight-year-old Millie (Ruby Dunne), six-year-old Alfie (Darragh Mackenzie), and four-year-old Madison (Molly McCann). Several days previously, the family were forced to leave their rented private home of seven years when the landlord decided to sell the property, giving them only two weeks' notice. With most of their possessions at John Paul's brother (Lochlann O'Mearáin) and his wife's (Natalia Kostrzewa), the couple have packed the essentials (spare clothes, toiletries, a toy rabbit named Peachy, who is practically another character, etc.) into their car, out of which they are now effectively living. As John Paul works every hour he can washing dishes in an up-market organic restaurant, Rosie spends the day looking after the kids and trying to arrange temporary alternative accommodation by calling the numbers provided to her by Housing Welfare; hotel rooms where the family can stay, with the bill paid by Dublin Corporation via the oft-mentioned "_Dublin City Council credit card_." However it soon becomes apparent that finding somewhere in the stretched-to-bursting system is not going to be an easy task; she starts the film asking for somewhere for "_a couple of weeks_", before dropping to "_three or four nights_", and finally pleading for a single night's accommodation. Meanwhile, she has to get the three older children to their various schools, and later pick them up, all the while trying to keep Madison entertained. Attempting to organise such things as washing the clothes, bathroom visits, and the completion of homework all from the confines of the car, Rosie quickly learns that without a roof over your head, even the simplest of tasks becomes a complex logistical nightmare. With all this going on, she has no time to look for a new house, so John Paul attends an open property-viewing on his lunch break, a trip which ends with a foreboding and infuriating realisation. In this situation, the last thing the family needs is more trouble, but when Rosie goes to pick Kayleigh up from school, the sullen teenager is nowhere to be found.
Doyle began writing _Rosie_ two years ago after listening to an interview with a woman who explained that although her husband worked full-time, the family were living out of their car, finding themselves with literally nowhere to go after being evicted from their rented accommodation. The woman emphasised that she never imagined such a situation for herself or her family, explaining that ordinary people don't realise how easily this can happen to them. And this is precisely the theme Doyle emphasises in the film. The Davis family are a completely normal working-class family, meeting none of the commonly held (mis)conceptions about the homeless, and the film challenges at every turn the stereotypical images we have of such people. As Greene tells RTÉ,
> _audience[s] are often very quick to place judgement on people in these situations – that they might be cheating the system, or taking benefits, and this is not the case. It's that the system is failing thousands of families._
The fact that the Davis family are an "ordinary family" enables Doyle to demonstrate that no great economic cataclysm or personal defect is necessary for people to be cast into the void, it's as much to do with bad luck and bad timing, and, in this sense, the film explores the extent to which the housing crisis has begun to cross class borders.
Since Doyle began writing, the crisis has worsened significantly, making the film even more relevant now than it was two years ago. Indeed, a scene in the film in which the family are told to spend the night in a Garda station is as "ripped from the headlines" as is humanly possible. When asked about the film's topicality by RTÉ, Greene states,
> _I think that's why Roddy wrote it, because he was so angry at the situation, and felt ashamed, being a citizen of Ireland, at this happening. We're not a Third World country, we're a very wealthy country, and it is shameful to see so many families in this situation. It's not okay._
Dunford adds,
> _this story is about normal people who are just in a desperate situation, and it could happen to anybody. It's the last thing that they considered ever happening to them._
As this may suggest, Rosie is a piece of social realist drama in the tradition of Ken Loach or Jean-Pierre and Luc Dardenne. However, it is much less concerned with constructing a left-wing world-view than the French brothers (I'm thinking of something like _L'enfant_ or _Deux jours, une nuit_), and far less melodramatic than recent Loach output (the most obvious point of comparison is the predictable and manipulative _I, Daniel Blake_ (2016), a decidedly inferior film to _Rosie_). As with all social realist cinema, Rosie speaks to the privations of the working class, and voices a critique of prevailing social structures. However, the nature and target of that critique is less conspicuous than we often find in the work of Loach, Mike Leigh, or Antonia Bird, with the film placing more emphasis on private character beats than synecdochical situations or character archetypes.
One of the strengths of Doyle's script is that he has been able to transmute emotionless news headlines and dry statistics concerning the rising tide of homelessness into a deeply effective and emotional story which does, by all means, work as a call-to-action, but which is much more forcefully a call-to-care. Doyle is not overly interested in sermonising about the failings of the State, concerning himself much more with what the housing crisis means to real people in practical terms. Avoiding overarching socio-political protest, he focuses on eliciting empathy and compassion for a situation about which the majority of people simply don't care. Sure, when a homeless person dies on our streets, there is much head shaking and "isn't it terrible" remarks, a few fingers pointed at our officials, but the majority of people do nothing – they don't give to charity, they don't volunteer, they don't give people a few euro on the street, or buy them a coffee and a roll, they don't campaign, they don't care. _Rosie_ dares you to care. It demands that you care.
In exploring this issue, Doyle's script is remarkable for its sense of restraint, avoiding condescension, cliché, predictability, and melodrama. Rather than the characters speechifying about their plight and the state of the country, they devote all their energies to simply getting through the day, dealing with each on-the-spot challenge (such as going to the toilet) as it arises. As a result, they never come across as a manipulated political device, existing only at the level of symbolism or allegory, merely a means to allow the screenwriter some socio-economic grandstanding (indeed, the wider-ranging homeless crisis itself is literally never mentioned in the film). However, this is not to say that the film avoids looking at how this kind of situation can exist in a country whose GNP has dropped only twice in the 21st century, and has risen steadily since 2009, and markedly since 2014. The film very much deals with the issues arising from the housing crisis, but in subtle ways.
For example, during a small disagreement between Rosie and John Paul, she criticises his job, saying the restaurant where he works make "_organic lunchboxes_". Her derision at the incongruity that her family is on the street, whilst others enjoy this kind of luxury is never explicitly stated, but it is there in Greene's performance, which offers a novel take on the old "_the gap between the haves and the have-nots is widening_" speech. Another example is found when John Paul attends an open-viewing for a house he and Rosie are thinking of buying in the East Wall area of Dublin. Finding the house crawling with people obviously considerably more wealthy than himself, John Paul asks the real estate agent to put his name down, only to be told the house "isn't really suitable for a family." Again, the real meaning behind this remark is left unsaid, but the critique of gentrification is unmistakable. An extremely important scene in this respect is when Rosie visits her brother-in-law and his wife. When he refers to the family being homeless, she quickly chastises him, telling him "_don't use that word_", and denying that the family are, in fact, homeless. This speaks volumes as to cultural stigma and social labelling. The family are very clearly homeless, but Rosie is unwilling to use the word or acknowledge that status, as to do so would place her amongst a social class that has been utterly cast off, and is generally seen as less than dirt by the populace at large.
Aside from the way in which it handles the housing situation as a national crisis, Doyle's script is surprising in other respects. For example, something I didn't see coming is that Rosie's mother (Pom Boyd) has a decent-sized house, and a good relationship with her grandchildren, who she is more than happy to let stay with her. However, she and Rosie have had a falling out recently over something unspoken concerning Rosie's deceased father, and her mother won't let Rosie back into the house until she takes back whatever she said. Rosie, for her part, refuses to apologise, and as she also refuses to split the family up, that means the children can't stay with their grandmother. In this respect, one of the sub-themes of the film becomes one of personal ethics – will Rosie abandon her principals in order to put a roof over her children's heads? Another nice piece of writing is that Doyle doesn't have Rosie and John Paul at each other's throats the whole film, as we might expect. Instead, they support each other 100%, working together to try to keep the children's spirits up, and only seriously arguing once (which, tellingly, they do away from the kids). One of the film's most salient themes is that theirs is a marriage of genuine love and respect, and that goes double for their family. The film may be asking for empathy from the audience, but it also depicts a great deal of empathy, as Breathnach and Doyle stress that this is a tight-knit family unit filled with love and affection. Their situation may be grim but they are in it together. Doyle has also fashioned an absolutely knockout ending, which somehow manages to be both extremely uplifting, yet utterly soul-shattering.
From an aesthetic point of view, Breathnach's direction is utilitarian, wisely avoiding any kind of directorial gymnastics which would draw attention away from the story. Which is not, however, to say that the film is visually uninteresting. One particularly well-blocked scene sees Rosie talking to a school principal, with the sequence shot in such a way that the two-shot is demarcated by a computer monitor, literally cutting Rosie off from the well-to-do world represented by the principal. The scenes in the family's car (which comprise a sizable portion of the film) are suitably cramped and claustrophobic, with a palpable sense of unrest growing ever more prominent as the film continues. In contrast, however, many of the exterior scenes are shot in such a way as to feel disconcertingly empty, with Rosie and her family often dwarfed within the frame, creating a real sense of hopelessness and swimming-against-the-tide. Additionally, almost the entire film is shot with handheld cameras, with a lot of the exteriors consisting of long single-take Steadicam shots which create a sense of urgency, as well as depriving the characters of any sense of the control with which they could be imbued by editing. Much of this works to enhance the film's prevailing aesthetic style, which is a kind of pseudo-_cinéma vérité_ documentarian approach, with the on-screen _milieu_ feeling completely authentic.
One especially well managed aspect of the film is how it deals with the task of ringing around the various hotels trying to find a room, going through the exact same conversation over and over and over again. Before we see any images, we hear a radio report talking about the homeless crisis, followed by Rosie ringing the first number on her list. Then the image fades in. This conversation becomes a refrain, and is continued throughout the film, serving almost like a chorus punctuating the rest of the days' activities. It's also worth noting that Rosie's mobile phone is visible in practically every scene.
I'd be remiss here if I didn't address the performances. Greene is simply outstanding as Rosie, carrying the bulk of the film, and most of the emotional weight (a good 70-80% has her front and centre). Her attempts to remain calm in front of the kids, never losing her temper or chastising them for being frustrated with their situation, and her sorrow and regret on the few occasions when she does, are utterly heart-breaking. Her brave face slips a couple of times, and when it does, there is no sense of catharsis, no feeling of pressure being released. There is just sadness, and acknowledgement of her suffering. Despite her outward optimism, the ominousness of the situation is always there, right beneath the surface. It's an extraordinarily subtle and layered performance of just a few emotional registers, but it's completely effective and rings completely true. The ever-reliable Dunford is also excellent in the slightly under-written role of John Paul, imbuing the character with a warmth and fragility, especially noticeable in a heart-breaking scene in which he reveals to Rosie his shame at not being able to adequately provide for or protect his family.
Although _Rosie_ is about a national crisis, it is also intensely personal. Doyle may not be outwardly concerned with the politics, but his sense of anger is unmistakable as he attempts to show that the ordinary and decent people of this country are being humiliated and degraded on a daily basis. Speaking to RTÉ, Dunford states,
> _this is about our people, this is about Ireland, this is about a bigger picture. It's about our brothers, it's about our sisters, it's about how they're being taken for fools by weasely people in government who are cowards, and something has to be done. That's what it's about._
In this sense, Rosie should make audiences angry. And it probably will. The problem is that it will have a very small audience. This is not _Cathy Come Home_ being watched by 12 million people on the BBC. This is a small independent film playing on a few screens across the country, a film of which the vast majority of the cinema-going public have never heard. In the end, despite the fact that it's exceptionally well made, deeply affecting, and flawlessly acted, _Rosie_ won't make much of a difference or have much of an impact. And that's a crying shame.
Sword of Trust (2019) Stream Full Movie Online Bluray
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When Cynthia and Mary show up to collect Cynthia's inheritance from her deceased grandfather, the only item she's received is an antique sword that he believed to be proof that the South won the Civil War.
For all its flaws, ‘Sword of Trust’ is still a fun little movie. While it has a mix of untapped potential and a stretched plot, it isn’t one that I would say to stay away from - if you stumble across it and have 80 minutes to kill, there are worse things you could be watching. - Chris dos Santos
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A man wakes in a hospital bed with no recollection of who he is, and learns that he's wanted by the police for a committing a series of murders.
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Sequel to "House of 1000 Corpses" (2003) and "The Devil's Rejects" (2005). Plot unknown.
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Sixteen-year-old Austyn Tester, a rising star in the world of digital celebrities, builds his following on wide-eyed optimism and teen girl adoration as he tries to escape a dead-end life in rural Tennessee.
Watch ‘Jawline’ from start to finish, then think back to those first two minutes of the film where Austyn is trying desperately and laboriously to capture the perfect photo of himself. Can you still see what’s to come? Is the sparkle still there? Or has the filter been deleted? - Jess Fenton
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