"Pike River" Takes Us Into the Tragic True Story
The beating heart of this film is the relationship between Anna Osborne and Sonya Rockhouse.

Heather needs a place to stay, but the rent is too high. Fortunately, Heather knows to say "do you want me?" and understands that the answer is going to be "yes, please!". Erik is having to deal with a squatter Lucia, who is sunbathing on his balcony. He realises that the hot chick is busy masturbating on the lounge chair! Lexi is looking for a modelling job to showcase her lithe body and supple curves. Choky has connections in business and is willing to give her some tips! Mikey's tenant, the sexy French brunette beauty Clea, is running a house of ill-repute. When he saw Clea prowl up to the massage table with black lace lingerie clinging to her lithe, slender frame, his dick put the kibosh on our deal. Carolina is late paying rent and Choky isn't interested in excuses. Until Carolina gets on her knees, purses her lips, bats her captivating eyes and asks; "How can I pay without money?" With that devilishly seductive smile, who couldn't find a way to be reasonable?
The beating heart of this film is the relationship between Anna Osborne and Sonya Rockhouse.
Ever heard of the bad boy type? The type of man who's sexy yet broody, or the type of man who’s dangerous but has a sensitive side? It’s a well-known stereotype that women are attracted to villains. The question is: why are we?
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
“Jumanji - a game for those who seek to find, a way to leave their world behind...” A nostalgic classic that remains unnerving, "Jumanji" draws audiences into a chilling adventure.
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.