Dream Alliance is an unlikely race horse bred by small-town Welsh bartender Jan Vokes. With no experience, Jan convinces her neighbours to chip in their meagre earnings to help raise Dream in the hopes he can compete with the racing elites.
Experience the inspiring true story of Dream Alliance, an unlikely race horse bred by small town bartender, Jan Vokes (Toni Collette). With very little money and no experience, Jan convinces her neighbors to chip in their meager earnings to help raise Dream and compete with the racing elites. Their investment pays off as Dream rises through the ranks and becomes a beacon of hope in their struggling community.
We can see every plot point rounding the turn long before the finish line, but that’s OK, because we’re having a (dare I say it) jolly grand time every step of the way.
Sure it’s hokey, but this fact-based crowd-pleaser starring a terrific Toni Collette as a struggling Welsh villager who risks everything on a racehorse she breeds and raises is an underdog story that works like a charm.
After thirty years, Maverick is still pushing the envelope as a top naval aviator, but must confront ghosts of his past when he leads TOP GUN’s elite graduates on a mission that demands the ultimate sacrifice from those chosen to fly it.
After more than thirty years of service, military awards, medals and decorations for extraordinary heroism in combat, distinguished US Navy Captain Pete Mitchell, call sign Maverick, finds himself exactly where he belongs: pushing the limits as a top test pilot. Having spent years avoiding promotions after the events of Top Gun (1986), Maverick must now confront the ugly past and an uncertain future while tasked with training the next generation of elite fighter pilots for a nearly impossible suicide mission. As the veteran naval aviator prepares the brilliant graduates for the top-secret assignment, stretching the rules to the breaking point, Mitchell has to face an equally critical challenge: navigate through an uncomfortable relationship with a hotshot lieutenant holding a grudge. Can Maverick and his Top Guns perform a miracle, give the enemy hell, and come back home in one piece? – Nick Riganas
This is the ideal example of a big summer blockbuster and one of the best legacy sequels we’ve ever gotten: a movie that knows how to move along and give you what you came for.
On the eve of retirement a middle class, judgmental snob discovers her husband has been having an affair with her best friend and is forced into exile with her bohemian sister who lives on an impoverished inner-city council estate.
When “Lady” Sandra Abbott discovers that her husband of 40 years is having an affair with her best friend, she seeks refuge in London with her estranged, older sister Bif. The two could not be more different – Sandra is a fish out of water next to her outspoken, serial dating, free-spirited sibling. But different is just what Sandra needs at the moment, and she reluctantly lets Bif drag her along to a community dance class, where she starts finding her feet.
Finding Your Feet finds its own footing by putting its trust in its sturdy performers and avoiding many of the usual tea-time clichés as it allows its British cast to be defined by their relatable human circumstances more than quaint Anglo quirks.
From director Kenneth Branagh, Belfast is a personal story about the power of memory. Set in late 1960s Northern Ireland, a young boy on the cusp of adolescence and childhood hijinks. Yet, with his hometown caught up in turmoil, his family faces a momentous choice: hope the conflict will pass or leave everything for a new life.
From lauded director Kenneth Branagh, and starring an acclaimed ensemble cast, Belfast is a personal and joyful story about the power of memory, set in late 1960s Northern Ireland. At the centre of the film is Buddy, a young boy on the cusp of adolescence, whose life is filled with familial love, childhood hijinks, and a blossoming romance. Yet, with his beloved hometown caught up in increasing turmoil, his family faces a momentous choice: hope the conflict will pass or leave everything they know behind for a new life.
Taken all together, Branagh’s film is in its own special way like a cinematic equivalent of the Irish brogue that fills it: It’s lovely, it’s lyrical and it’s next to impossible not to be swept up by its charms.
There’s only one trouble with his semi-autobiographical account. It’s so polished—so spirited, funny and skillfully calibrated—that it could be taken for a while as a crowd-pleaser and not a lot more. Sign me up for the crowd, though. This is surely the most pleasing film I’ve seen so far this year, but also the most affecting.
George Bailey has so many problems he is thinking about ending it all – and it’s Christmas! As the angels discuss George, we see his life in flashback. As George is about to jump from a bridge, he ends up rescuing his guardian angel, Clarence – who then shows George what his town would have looked like if it hadn’t been for all his good deeds over the years.
It’s one of those ageless movies, like “Casablanca” or “The Third Man,” that improves with age. Some movies, even good ones, should only be seen once. When we know how they turn out, they’ve surrendered their mystery and appeal. Other movies can be viewed an indefinite number of times. Like great music, they improve with familiarity. It’s a Wonderful Life falls in the second category
Although peppered with colourful, sharply drawn characters, this is Stewart’s movie, instantly loveable as a small town dreamer who sacrifices everything for others. His journey to despair and back warms the cockles like little else. Enjoy it in a cinema so you can sob among others.
In 1961, Kempton Bunton stole a valuable painting from the London National Gallery. He sent ransom notes saying that he would return it on condition that the government invested more in care for the elderly. What happened next became the stuff of legend. An uplifting true story about a good man who set out to change the world.
In 1961, 60-year-old Kempton Bunton stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. He sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly. What happened next became the stuff of legend. An uplifting true story about a good man who set out to change the world and managed to save his marriage.
You could dine on nothing but lard for twenty years and still not develop the hardness of heart necessary to avoid being won over by Roger Michell‘s The Duke, a ridiculously charming British comedy that dunks a gamely accented prestige cast into an appealingly milky true story like so many digestives into a warm, well-earned, early evening cuppa.
A film based on a true story. Outstanding performances by Jim Boadbent as a man with an active social conscience and Helen Mirren as his long suffering wife. The story is touching, a balance of grief, justice and many humorous moments.
I greatly enjoyed the whole film and would happily watch it again.
Manhattan, Upper West Side, 1957. Against the backdrop of the decaying tenements of New York, two gangs fight for supremacy. This oscar-winning reimagining of the beloved musical tells the classic tale of fierce rivalries and young love in 1957 New York City.
An adaptation of the 1957 musical, West Side Story explores forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds.
This is a West Side Story for both the past and present, as pleasing as the best movie musicals used to be, and as relevant as today’s headlines. It makes you feel like you are actually on the turbulent streets of New York’s west side, not a sound stage.
West Side Story is contrived, certainly, a hothouse flower of musical theatre, and Spielberg quite rightly doesn’t try hiding any of those stage origins. His mastery of technique is thrilling; I gave my heart to this poignant American fairytale of doomed love.
Career con artist Roy can hardly believe his luck when he meets a well-to-do widow on-line. As Betty opens her home and life to him, Roy is surprised to find himself caring about her, turning what should be a cut-and-dry swindle into the most treacherous tightrope walk of his life.
Consummate con man Roy Courtnay (Ian McKellen) has set his sights on his latest mark: the recently widowed Betty McLeish (Helen Mirren), worth millions. And Roy means to take it all.
From their very first meeting, Roy begins plying Betty with his tried and true manipulations, and Betty, who seems quite taken with him, is soon going along for the ride. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes—revealing more insidious deceptions that will take them both through a minefield of danger, intrigue and betrayal.
This movie rattles along with terrific energy and dash and the flashback sequences show that it’s actually far more daring and ambitious that you might expect. It’s a great duel between McKellen and Mirren.
A wheelchair-bound photographer spies on his neighbours from his Greenwich Village courtyard apartment window, and becomes convinced one of them has committed murder, despite the scepticism of his fashion-model girlfriend.
L.B. “Jeff” Jefferies is an immobilized photo-journalist who, after breaking his leg photographing a racetrack accident, finds himself wheelchair bound and confined to the walls of his apartment. His rear window looks out onto a courtyard and several other apartments, where the binocular-wielding Jefferies spends his days as a voyeur spying on his neighbours. Jefferies gradually becomes more and more engrossed with this activity of his, and soon brings his girlfriend, Lisa, in on the thrill of his voyeurism. It’s all fun and games for the two until they witness what they believe to be a murder in progress, becoming increasingly convinced as they continue to observe the apartment. [KP]
The most densely allegorical of Alfred Hitchcock’s masterpieces, moving from psychology to morality to formal concerns and finally to the theological. It is also Hitchcock’s most innovative film in terms of narrative technique, discarding a linear story line in favour of thematically related incidents, linked only by the powerful sense of real time created by the lighting effects and the revolutionary ambient sound track.
Hitchcock confines all of the action to this single setting and draws the nerves to the snapping point in developing the thriller phases of the plot. He is just as skilled in making use of lighter touches in either dialog or situation to relieve the tension when it nears the unbearable. Interest never wavers during the 112 minutes of footage.