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This is an intriguing avant-garde look at what motivates the leisurely classes in Portugal, for better or worse, by director Manoel de Oliveira. Set in a spacious country home peopled with a wide-ranging cast of characters, the drama begins as the friends of a widow come to console her on the loss of her husband. But at one point, the widow goes upstairs, encounters her husband, and is faced with his accusations about the past. This event and others provide the means of revealing the petty, self-serving, egocentric, and romantic pursuits of the melange of people in the house. – Eleanor Mannikka, Rovi
Oliver is a bright 12-year-old who lives in the shadow of his parents’ loss of their first son. His family appears fine on the outside, but is broken behind closed doors. As they work out their faith, Oliver is left to grapple with his own belief in God and the answers to life’s biggest questions: Why am I here? What happens after death? Who made us? An angel disguised as a quirky traveler is sent to help him bring the pieces of the puzzle together. As Oliver’s struggles cause him to look to science for answers, he discovers God is found by faith not by sight.
It’s 1938, but Stan doesn’t know the war is over; he’s still patrolling the trenches in France, and shoots down a French aviator. Oliver sees his old chum’s picture in the paper and goes to visit Stan who has now been returned to the States and invites him back to his home.
Charlie Sheen narrates, as cast and crew share their personal experiences making the Academy Award winning film, Platoon. This non-union, low budget, independent film was cast almost exclusively with young, unknown actors making their first film. Together they share their first hand accounts of the grueling boot camp, Oliver Stone’s “unique” directing style, and the brutal filming conditions that together forged their eternal brotherhood.
A compilation of primarly Laurel and Hardy shorts—From Soup to Nuts, Wrong Again, Putting the Pants on Philip, The Finishing Touch, Sugar Daddies and short clips from others—plus Max Davidson’s Call of the Cuckoo and Dumb Daddies, with some cross-over Charley Chase footage, which, along with Robert Youngson’s previous “The Golden Age of Comedy”, “When Comedy Was King”, “Days of Thrills and Laughter”, led to a renewed interest in and a revival of television showings of Laurel and Hardy shorts. The cast was billed in order of their appearance: Oliver Hardy, Stan Laurel, Vivien Oakland (with a Vivian typo), Glen Tyron, Edna Murphy, Anita Garvin, Tiny Sanford, Jimmy Finlayson, Charlie Chase, Viola Richard, Max Davidson, Del Henderson, Josephine Crowell, Anders Randolf (as Anders Randolph), Edgar Kennedy, Dorothy Coburn, Lillian Elliott and “Spec” O’Donnell.
With their golden era long behind them, comedy duo Stan Laurel and Oliver Hardy embark on a variety hall tour of Britain and Ireland. Despite the pressures of a hectic schedule, and with the support of their wives Lucille and Ida – a formidable double act in their own right – the pair’s love of performing, as well as for each other, endures as they secure their place in the hearts of their adoring public
Lee Ray Oliver, a death row inmate, is given a second chance at life if he agrees to undergo a new chemical treatment used to modify behavior.
Spoiled billionaire playboy Oliver Queen is missing and presumed dead when his yacht is lost at sea. He returns five years later a changed man, determined to clean up the city as a hooded vigilante armed with a bow.
Henry Dussard, a young American, inherits a picturesque but badly neglected olive farm in southern France and is determined to make it operational again despite cautionary advice from the local priest and a pretty villager. Desperate for laborers, the inventive Dussard turns to the zaniest crew of olive pickers ever recruited – four mischievous monkeys! As former members of an Air Force space team, these intelligent chimps quickly pick up on their new responsibilities – but prove to have a turbulent effect on the local townspeople.
Five broken cameras – and each one has a powerful tale to tell. Embedded in the bullet-ridden remains of digital technology is the story of Emad Burnat, a farmer from the Palestinian village of Bil’in, which famously chose nonviolent resistance when the Israeli army encroached upon its land to make room for Jewish colonists. Emad buys his first camera in 2005 to document the birth of his fourth son, Gibreel. Over the course of the film, he becomes the peaceful archivist of an escalating struggle as olive trees are bulldozed, lives are lost, and a wall is built to segregate burgeoning Israeli settlements.
