On Christmas Eve, a former thief, recently released from prison, stops a forlorn, destitute, despairing young woman from committing suicide. She's from the country and hasn't been able to find her boyfriend who came to the city earlier. The ex-con suggests having a little party together, but both are flat broke. He realizes there's an obvious solution.
A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.
For many people, Disney+’s debut show, The Mandalorian, was a breath of fresh air for the Star Wars universe. The Disney Gallery shows audiences how that show came to be.
"Well, the film industry is completely sexist and completely class-biased." A closer look at Lynne Ramsay's impressive body of work.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
A trio of girls form a band and enter a singing competition together after learning they work best as a team.
