Eine schrecklich geile Familie 2 

'City of God' depicts the cylindrical cycle of violence that is forced upon the underprivileged.

I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.

Avatar: The Last Airbender's success fifteen years after its premiere proves the enduring power of its storytelling. But it's more than just a quality show.

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.

One young woman with an unusual background tries to find and establish herself in the real world, which isn't exactly as festive as she hoped it would be.