• filter by Genre: Romance, Action, Horror …etc. Community See All. That Buckley’s protagonist is referred to with various names speaks to her fuzzy, fragmented identity, just as the film’s blend of comedy and horror, as well as intricate dialogue and interior narration, speaks to its duality-centric nature. Watch full episodes of current and classic NBC shows online. Vitalina wanders through this dilapidated and gloomy environment, which Costa shoots almost exclusively at night, the better to conjure a sense of ghosts navigating a dreamscape of sorrow, suffering and disconnection. In the fictional northeast Brazilian town of Bacurau, residents are puzzled to discover that their home has disappeared from all GPS maps, and their cell service has ceased. Through use of piercing close-ups, grainy archival clips, and an agile editorial structure, director Marcello infuses his action with hard-edged lyricism, equally rugged and romantic, enlivening and ominous. Photo Credits: NBC; Amazon/Netflix/HBO/FX; Netflix; Anthony Roman; Apple TV+; HBO, Dr. Seuss' How The Grinch Stole Christmas, Midnight Christmas Mass: Vatican Basilica, How to Watch the NCAA Football Bowl Games, The Best Shows and Movies to Watch This Week: Death to 2020, Vikings Series Finale, Bridgerton's Regé-Jean Page Hints at Drama Ahead for Simon and Daphne in Potential Season 2, How to Watch the Times Square Ball Drop on New Year's Eve, How To Watch Wonder Woman: 1984 Right Now, The Essential Bridgerton Guide to Telling Daphne's Brothers Apart, Bridgerton Review: Shonda Rhimes' Gossipy Netflix Romp Bites Off More Than It Can Chew. Courtesy of Ma’s demanding diva imperiousness and Levee’s cock-of-the-walk arrogance, the session becomes a powder keg whose fuses are related to African-American oppression, ambition and music-industry exploitation. - Watch full episodes of your favorite series and shows. Marder evokes Ruben’s condition through an expertly calibrated soundscape that vacillates between harmonious, crystal-clear atmospherics and the low, scary dullness that now besets Ruben. Brown stages his mayhem with assured efficiency, creating an air of impenetrable mystery through uneasy silence, compositions that devolve into cascading bubbles and a squishy foot-surgery sequence that would make body-horror maestro David Cronenberg proud. Enjoy the below features in MBC3 application: - Check the application without creating an account. There’s gnarly, unnerving texture to everything in this unhinged film, which fragments and reforms like a nightmare born from the darkest recesses of the mind. While we can’t celebrate them all, this year-long rundown has certainly tried to do justice to the finest that filmmakers had to offer. Gaslighting gets downright monstrous in The Invisible Man, a 21st-century take on Universal’s classic unseen specter. McDormand constructs a towering performance from subtle gestures and expressions, her Fern at once a part of the expansive landscapes in which she roams—and the band of fellow nomads she befriends, including David (David Strathairn)—and yet also separate from them. Weeks’ scares are assured, and all the better for being intertwined with his protagonists’ complicated refugee circumstances, with Bol eager to fit in and Rial increasingly resentful about her rootless condition. The symbiotic relationship between man and machine is the foundation upon which Cronenberg constructs a dark, demented story about performance, and the effect it has upon the performer’s sense of self, which truly comes to the fore when Tasya’s latest vessel—Colin Tate (Christopher Abbot), boyfriend to the heiress of a data-mining mogul (Sean Bean)—turns out to be a less-than-compliant instrument of death. Kitty Green’s The Assistant is the first great #MeToo film, a scathing look at the mundane day-to-day ways in which gender-imbalanced abuse and unfairness are built into workplace systems. Page Transparency See More. أطلقت مجموعة MBC قناة MBC2 في يناير/ كانون الثاني من عام 2003، لتتيح كمًّا هائلا من أنجح البرامج والأفلام من استوديوهات عالمية أمام الجمهور في مختلف أنحاء العالم العربي. recounts Mari Gilbert’s (Amy Ryan) efforts to find her oldest daughter Shannan, public school superintendent Dr. Frank Tassone in, make their way through Texas’ week-long Boys State program, comprised of trombonist Cutler (Colman Domingo), a fictionalized account of the last year in the life of the legendary American gangster, Writer/director Josh Trank’s film is a subjective affair, references to notable (but largely forgotten) African-American trailblazers, his stowaway 15-year-old daughter Tutar (Maria Bakalova), making coherent heads or tails of the film’s convoluted story about, The Best Upcoming New Superhero Movies in 2020, The Best, Must-Watch TV Shows Coming Out in 2020, The 15 Most Anticipated Video Games of 2020, The Most Anticipated Movies of 2020 That Are Based on Books, Our Favorite Netflix Original Movies Released in 2020. Trapped in a palatial Florida estate, his mind deteriorating thanks to neurosyphilitic dementia, Al Capone (Hardy) rants, raves, soils himself and freaks out over hallucinatory visions of people, and events, from his past. Most of all, though, it’s a saga about perseverance and bravery, two qualities that Neulinger – then, and now – exhibits in spades. The MBC vs TOC live action is scheduled to begin at 3:00 PM on Tuesday, December 1 at the Eden Gardens. By the time the filmmakers’ story begins, urban 13-year-old Ahmed (newcomer Idir Ben Addi) has already been indoctrinated by a jihad-encouraging imam (Othmane Moumen). Enjoy the below features in MBC3 application: - Check the application without creating an account. In vistas of the ancient and immovable Cordillera, close-ups of cracks lining the hardscrabble soil, and gazes into labyrinth-like patterns found on junkyard car doors, Guzmán (who also serves as narrator) evokes a poetic sense of imposing mysteries and unrepairable fissures, which spread through him – and economically unbalanced Chilean culture – like the solemn valleys that course between the Andes’ peaks. Drenched in silence that expresses the loneliness of its heroine, and speaks volumes about the tacit understanding and compassion shared by women, it’s a sobering study of perseverance in the face of individual, and systemic, oppression. Still, in an ironic twist, the real draw of this tribute to writers is Fincher’s remarkable directorial artistry. The director lays out the myriad forces at play in this ostensibly picture-perfect milieu in exacting detail, and his preference for longer takes means that the focus remains squarely on his performers. Part Cowardly Lion, part Bugs Bunny, and altogether ferocious even as his sanity frays, Hardy’s Capone is yet another triumph for the star, who ultimately captures his protagonist less through imposing physicality than via his dark, glassy, lost eyes. Although most were viewed on inadequately small screens, the legion of fiction and non-fiction releases that helped us cope with our pandemic-wracked reality delivered welcome doses of excitement, drama, terror, and humor. Kurosawa repeatedly frames Yoko amidst enormous, enveloping crowds, the better to suggest her feelings of isolation and confusion. Madness has arrived in infinite-hued form, as Stanley evokes a sense of rifts opening between our world and the great abyss beyond, and delivers fantastical sights of both a CGI and practical-effects sort. An opening scene in which Yoko fails to catch a mythical big fish in Aydar Lake – and then has her femininity blamed for this letdown – serves as a gentle metaphor for her ensuing search for purpose, freedom and confidence to face a strange world that seems intent on menacing her, be it police officers whose questions and demands she doesn’t understand, or an amusement park ride that spins her into near oblivion. It’s a headfirst dive into delusion, told with free-flowing suspense and absurd comedy, all of which comes to the fore during a late scene in which Capone opens fire on his friends and family with a giant golden tommy gun while wearing a diaper and chomping on a cigar-like carrot. Bio-terror comes in corrupting forms in The Beach House, whose contagion-based scares speak, subtly if severely, to our present moment. A channel specializing in foreign movies. See a full list of Movies, view rankings and more on TVGuide.com. That domicile is in a constant state of transmutation, as is Maria and the two pigs she finds inside, which she transforms into her de facto children. Nonetheless, amidst such incessant, graphic cruelty, compassion fleetingly materializes in the form of a kindly priest (Harvey Keitel), a Nazi soldier (Stellan Skarsgård) and a Russian sniper (Barry Pepper) who teaches him about “eye for an eye” justice. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. Czech artist Barbora Kysilkova responded to the theft of two prized paintings by befriending Karl-Bertil Nordland, the drugged-out gangster behind the crime. MBC2 is the first 24-hour free-to-air movie channel in the Arab World. Over the course of one sloshed 24-hour period, Bloody Nose, Empty Pockets evokes a pitch-perfect sense of its going-to-seed milieu and equally haggard visitors, with former actor-turned-floor sweeper Michael proving the weary epicenter of its laid-back action. Disaffection and sorrow hover over Tesla, Michael Almereyda’s daringly unconventional film about the famed nineteenth-century inventor. Ryan’s powerhouse performance as the fiercely determined Mari is the nucleus of this dispiritingly bleak tale, in which there are few concrete answers to be found, but plenty of blame to pass around. Autobiographical tales of trauma don’t come much more wrenching than Rewind, director Sasha Neulinger’s non-fiction investigation into his painful childhood. One of five features included in 12 Years a Slave director Steve McQueen’s “Small Axe” compilation, Mangrove dramatizes the real-life story of the Mangrove Nine, a group of Black British West Indians from Notting Hill who were charged with inciting a riot after they marched in protest against police harassment and brutality – all of it centered around Frank Crichlow’s (Shaun Parkes) The Mangrove restaurant. Jean-Pierre and Luc Dardenne gaze into the dark heart of religious fanaticism in Young Ahmed, a drama that’s all the more chilling for proffering no easy answers. Sharply incorporating closed-captioning into its storytelling, it’s a quiet-LOUD-quiet portrait of finding peace in the present stillness. Esquire participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites. Werner Herzog is non-fiction cinema’s foremost philosopher poet, and with Nomad: In the Footsteps of Bruce Chatwin, he pays reverent tribute to his celebrated writer friend Bruce Chatwin, who passed away from AIDS in 1989, and whose 1980 novel The Viceroy of Ouidah was the basis for Herzog’s 1987 film Cobra Verde. Tenet may be the ultimate Christopher Nolan movie, distilling the director’s aesthetic style, storytelling conventions and thematic preoccupations down to their abstract essence. Everything is connected in this economical and thrilling sci-fi saga, as the writer/directors – aided by understated performances from their Hollywood leads – deliver a unique vision of intertwined fates, the links between the past and the future, and the importance of cherishing the present moment. Bolstered by Dirisu and Mosaku’s heartfelt turns as lost souls desperate for forgiveness and peace, it’s a film whose haunting, dreamlike terror proves an expression of lingering trauma. Martin Eden is a superb period piece that also exists out of time and is directly attuned to our perilous present. Though the results aren’t as dynamic as their prior collaboration, Coppola’s fizzy romantic drama nonetheless finds its headliner in outstanding form as Felix, the suave ladies-man father to Laura (Rashida Jones), with whom he embarks on an investigation into the possible two-timing proclivities of her husband Dean (Marlon Wayans). On a Cape Cod getaway, aspiring astrobiologist Emily (liana Liberato) and her going-nowhere boyfriend Randall (Noah Le Gros) wind up sharing accommodations with fiftysomething couple Jane (Maryann Nagel) and Mitch (Jake Weber), friends of Randall’s dad. Marc Antoine d’Halluin is not leaving MBC, however, having now been appointed as an advisor to its board in order “to guide its strategic vision,” a terse MBC statement said. Catrin Einhorn and Leslye Davis’ intimate direction captures this family’s saga through ups (Brian’s new marriage) and downs (an unthinkable loss), in the process conveying how our dispositions and adult paths are inherently shaped by our parents (and the values they teach) as well as by the calamitous incidents that detonate our sense of stability. Rich in agonized angst and formal flourishes, it’s a masterwork of unhinged tone, as well as a showcase for Buckley, whose grand performance covers an expansive stretch of emotional terrain. A dramatic account of the historic embezzlement scandal that engulfed Tassone and his colleagues – most notably, assistant superintendent Pam Gluckin (Allison Janney) – Cory Finley’s film (based on Robert Kolker’s New York Magazine article) is a ruthlessly efficient and even-keeled affair about the intense pressures of suburban academia, where educational-ranking achievements and college acceptance rates are intimately intertwined with real-estate prices. Stranger still is the 1950s-style UFO zooming around the sky – perhaps a hallucination invoked by the psychotropic drugs the townsfolk have ingested? Its studied imagery suggesting a daintier variation on Wes Anderson’s trademark visuals, Emma boasts an aesthetic confidence that’s matched by its performers. Since said predator isn’t visible to the human eye, however, that’s not an easy task. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. Acting doesn’t come much bolder and more blistering than in Ma Rainey’s Black Bottom, George C. Wolfe’s adaptation of August Wilson’s 1982 play about a 1927 Chicago recording session by real-life blues legend Ma Rainey (Viola Davis) and her backing band, comprised of trombonist Cutler (Colman Domingo), bassist Slow Drag (Michael Potts), pianist Toledo (Glynn Turner) and trumpeter Levee (Chadwick Boseman). Marinelli’s performance is similarly fraught, his gargantuan presence as entrancing as it is intimidating. In 2011 MBC2 brought local production back to the channel by commissioning Scoop with Raya in which our globe-trotting presenter meets the … TV Guide MBC MAX Channel - Movies - Frequency، Showtimes. Virus Free Not just a portrait of Neulinger’s internalized misery, it’s also a case study of how sexual misconduct is a crime passed on from generation to generation, a fact borne out by further revelations about his father’s upbringing alongside his assaultive brothers. His aesthetics as probing as his writing is dexterous, Kaufman overstuffs his material with literary and cinematic shout-outs (and critiques), all while blurring the line between reality and fantasy until such distinctions cease to matter. Anxiety about mortality turns out to be more pronounced than ever, particularly via Coogan’s Ingmar Bergman-esque dream sequence, which is related to dismay over his father’s failing health. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Search Davis has rarely been better as the take-no-shit Ma, staring down anyone who might question her authority – including her manager (Jeremy Shamos) and the studio’s owner (Jonny Coyne) – with a glare that would fell an angel. In a countryside beset by an unknown plague, teenage Gretel (It’s Sophia Lillis) refuses to work as an old creepy man’s housekeeper, and is thus thrown out by her mother, forced to take her young brother Hansel (Sam Leakey) on a journey through the dark woods to a convent she has no interest in joining. DIRECTV customers, add the Movies Extra Pack, AMC+, Hallmark Movies Now, Lifetime Movie Club, A&E Crime Central, HISTORY Vault, DOGTV (a channel designed just for dogs) or Pantaya. These are the phenomenal films that helped us overcome a challenging year. Chung’s storytelling is awash in contrasts – between alienation and communion; the urban and the rural; religion and self-determination – that he establishes with a lyrical touch, allowing his tale to slowly reveal itself to be a multifaceted family drama about faith, togetherness, survival and adapting to new and daunting circumstances. Historical changes often have humble beginnings, as was the case with the American Disabilities Act (ADA), whose origin is Camp Jened, a 1970s summer getaway for disabled men and women in New York’s Catskill mountains. Unifying its scenes of public service via flowing transitional montages of city streets, and routinely featuring committed and candid Mayor Marty Walsh as its nominal “protagonist,” his doc pays tribute to the act of listening, and engaging in constructive conversation, as a vehicle for progress. Secrets, lies and communication breakdowns are all part of this amusingly heartfelt package, which – elevated by expert performances from its cast (in particular, the seething Bergen and affable Hedges) – suggests that in life, as in art, forging dialogues with ourselves, each other and the past is akin to a miracle. James LeBrecht and Nicole Newnham’s documentary is the story of that quietly revolutionary locale, where disrespected and marginalized handicapped kids were finally given an opportunity to simply be themselves, free from the judgement of those not like them. A nighttime race through Manhattan in an old-school sports car is the material’s comedic high point, and contributes to the warmth and affection that Coppola showers upon her metropolitan setting, here envisioned as a dreamy wonderland full of intrigue, adventure and alternately enervating and enlivening domesticity. That balance is key to Relic’s terror as well as its heart, both of which peak during a claustrophobic finale set inside a literal and figurative maze, and a coda that suggests that there’s nothing scarier, or kinder, than sticking with loved ones until the end. Sudanese refugees Bol (Sope Dirisu) and Rial (Wunmi Mosaku) successfully make it to England, only to discover that they’ve been followed by relentless ghosts, in His House, a complex horrorshow of guilt, grief and regret. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself. 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