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A camera points at a beautiful woman in a scenic setting. She smiles; she is accustomed to being looked at with interest and admiration. But we see through the lens of the camera and the eye of the photographer that the focus has been adjusted to blur the woman in the foreground to sharpen the image of the man behind her and to the left. The photographer is Roman (Oleg Zagorodnii), the man he is literally focusing on is Sergey (Tom Prior, who also co-scripted), the women who does not realize that the photo will not capture her smile is Luisa (Diana Pozharskaya). It is the 1970s and all three are in the Soviet Union-era military in Estonia, based on this true story as told years later by Sergey.  “Firebird” is a swooningly romantic love story, clearly influenced and inspired by films like “Brokeback Mountain,” with themes of forbidden love in an ultra-masculine setting. It also draws from some of the classic love stories of the past like "Now Voyager," with deep, unabashed rom

It’s been fascinating to watch both ends of the political spectrum try to claim the legacy of George Carlin. Conservatives are convinced he would embrace their fight against cancel culture, believing that Carlin would support them under his umbrella of freedom of expression. Liberals respond with the fact that some of his best bits that were pretty strongly against almost all of the political beliefs of the Republican Party, especially in the ‘80s and ‘90s. With so few public figures embraced by all political stripes, why does Carlin engender such love? The truth captured in HBO’s excellent “George Carlin’s American Dream” is that everyone can appreciate this man’s genius. Directed by Judd Apatow and Michael Bonfiglio, this four-hour documentary series is more than just a love letter to a comedy icon. It successfully unpacks how Carlin didn’t so much reinvent himself as continuously explore what mattered to him in this world, usually on stage. It’s also more than just a recounting of a

The excellent and infuriating “Hold Your Fire” has all the twists and turns of the best hostage movie thrillers. That it is a documentary supports the adage that truth is often stranger than fiction. Since the 1973 heist this film investigates was covered around the clock by New York City television stations and news outlets, writer/director/editor Stefan Forbes has a plethora of footage to carefully edit into a taut, intense 94 minutes. When we are not hearing from several of the participants in contemporary interviews, we’re thrust into the action courtesy of gorgeously shot real time footage. As policemen with itchy fingers wait to ambush the Black men who held up a sporting goods store, an increasingly larger crowd of pro-robber supporters grows behind them. Meanwhile, a negotiator races against time to avoid an impending massacre. Imagine if Sidney Lumet had been outside that Chase Bank in Brooklyn when the event that inspired “Dog Day Afternoon” was happening, and you have an ide

Christina Ricci does most, if not all, of the emotional lifting in the lightweight horror drama “Monstrous,” a period piece about a single mom and her son who, in 1955, run away from home and re-settle in an isolated lakeside house. Ricci plays Laura Butler, an independent, emotionally fragile single mom who tries to escape her past—particularly her ex-husband—but finds it anyway in her new home, which is also haunted by a Gilman-like seaweed monster. The monster in question doesn’t always look great—this is a Chicken Soup for the Soul Entertainment production—and there’s not much to the tired plot twists that ultimately help viewers to better understand Laura and Cody (Santino Barnard), her withdrawn seven-year-old son. But Ricci’s compelling performance, with essential support from director Chris Sivertson (“All Cheerleaders Die,” “I Know Who Killed Me”), makes you want to follow Laura as she inevitably falls apart. The plot of “Monstrous” develops incrementally through canned revela

An anti-war movie like Lewis Milestone’s “All Quiet On The Western Front” or Terrence Malick’s “The Thin Red Line” is made great by the humanism at the center. These films put the soldiers, their lives and their souls, above the battle sequences or patriotic sentiment. “Foxhole,” written and directed by Jack Fessenden, aims for such heights. Working with a small cast playing characters of the same name in three wars spread over three different centuries—the American Civil War, World War I, and the Iraq War—Fessenden wrestles with themes of duty, honor, and most importantly empathy. Bookending his film with shots of a field filled with bloodied, dead soldiers, Fessenden immediately instills a sense of the futility of war. “The privilege of service seems to wither as each battle passes and what remains in the soul is not the glory of combat, but the horror of its aftermath,” a voiceover echoes in the fog. It’s through this poetic Malick-esque dialogue that his characters show how individ

“Senior Year” takes two high-concept premises—the going-back-to-high-school movie and the waking-up-from-a-coma movie—and slams them together in an intermittently amusing but mostly obvious comedy. It’s a decent vehicle for the bawdy charms of Rebel Wilson, who continues to establish herself as an appealing comic lead beyond being a reliably irreverent sidekick. And one of the more inspired choices is the casting of Angourie Rice as Wilson’s teenage self; she actually gets to be Australian, which is unusual, and she accurately channels Wilson’s sly, deadpan delivery. Both actresses are up for all the wacky hijinks the movie asks of them, which is why “Senior Year” feels like such a waste of both of their talents. The feature filmmaking debut from TV veteran Alex Hardcastle plays like a list of early 2000s references brought energetically to life. Too often, the film feels like two hours of that Leonardo DiCaprio pointing-at-the-TV meme from “Once Upon a Time ... in Hollywood.” Mentions

The modern Marvel sequel is as multi-armed as Doctor Strange casting a spell. Think about how many properties are being sequel-ed in “Doctor Strange in the Multiverse of Madness.” It’s a sequel to “Doctor Strange,” although just barely in that you probably need to have seen that film less than the Strange adventures that followed. It’s a sequel to “Avengers: Endgame” and “Spider-Man: No Way Home” in that it references action in both films and extrapolates somewhat on the universe-saving decision that the title character made in the former. It’s very much a sequel to “WandaVision,” the show that expanded the Marvel Cinematic Universe into television. And, for a particular generation, it’s kind of a sequel to when Sam Raimi was one of the most badass filmmakers alive. Perhaps all of these allegiances are at the root of why “Multiverse of Madness” never develops its own identity and depth. It’s a Frankenmovie, a blockbuster sewn together from pieces of other films, comic books, and TV sho

Maybe I’ve seen too many movies, but I figured out the main twist of the abysmal “The Twin” almost immediately. While knowing that the film's main action was kind of a narrative cheat probably didn’t help, I don’t think this movie would have worked even if I had fallen more deeply under its amateurish spell. Teresa Palmer is an underrated actress who has elevated genre films like “Lights Out” and “Berlin Syndrome,” but she is failed by the threadbare screenplay and poor direction in this Shudder original, which feels like exists purely to land that aforementioned twist and doesn’t care that nothing before it works on a dramatic level. It’s all about leaving the viewer reeling, right? Who really cares about the build-up if the pay-off is a killer? I do. I care about the build-up. “The Twin” is basically “Midsommar” meets “The Boy,” and yet not as fun as that mash-up might imply. Palmer plays Rachel, a woman who isn’t even allowed an ounce of character development before she’s sent h

All Abоut Hіndі Movies Typically Mеlоdrаmа and Fаmіlу-Cоnсеntrаtеd Scenarios - Wе all knоw the plot оf Hindi mоvіеѕ. Thе fіlmѕ аrе typically mеlоdrаmа аnd fаmіlу-соnсеntrаtеd ѕсеnаrіоѕ. Thе hеrоеѕ аrе handsome аnd rich, heroines and muѕеѕ аrе bеаutіful аnd ѕеxу аnd vіllаіnѕ are wіlу. This hаѕ bееn thе сrаft ѕіnсе thе іntrоduсtіоn оf Bоllуwооd movies іn 1800ѕ.  India іѕ actually one оf the lаrgеѕt рrоduсеrѕ of fіlmѕ аnnuаllу numbеrіng up to 1000 fіlmѕ реr уеаr. Hоwеvеr, bесаuѕе of lасk of flеxіbіlіtу tо blend in tо the оthеr іntеrnаtіоnаl fіlmѕ glоbаllу-rеnоwnеd, Hіndі is nоt muсh оf a talked-about mоvіе іnduѕtrу unlеѕѕ you саn аррrесіаtе іtѕ hub. In thе 20th century, Bоllуwооd mоvіеѕ аrе ѕlоwlу tаkіng іntо thе іntеrnаtіоnаl ѕсеnе, deviating from іtѕ uѕuаl аnd tурісаl соnсерtѕ. They have already incorporated nеw plots and 3D tесhnоlоgу tо be competitive. It ѕhоuld bе nоtеd thаt there аrе also a number of Hіndі mоvіеѕ that hаvе rеtаіnеd title іn Tіmе'ѕ 100 grеаt mоvіеѕ оf аll tіmе f