The Critters Are Going 'Back to the Outback'
Tired of being cooped up in their cages, the critters escape the Australian zoo and try to find their way to the outback.

Documentary in which singer Alesha Dixon, concerned about the increasing pressure on women to conform to an ideal body type, investigates the practice of airbrushing and retouching that has become a staple of magazine photos. Keen to discover whether these images simply celebrate the female form or whether they make harmful, unrealistic demands on women and society, her journey sees her sitting in on 18-year-old Ellie's boob job, hearing fashion mag insider Liz Jones and celeb mate Cheryl Cole complain about the beauty industry and appearing on a front cover with her own body beautiful untouched.
Tired of being cooped up in their cages, the critters escape the Australian zoo and try to find their way to the outback.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
The documentary depicts the indigenous people of Mexico with sublime reverence, highlighting a generational harmony with the land.
As an Indian lesbian living in the United Kingdom, the cards are stacked against Geetika from the start.