Watch the best tv shows free online? Haley Bennett is absurdly good as a Hudson Valley housewife who’s sleepwalking through a controlling marriage until a psychological disorder forces her into awareness. Carlo Mirabella-Davis’s psychological drama is an exploration of domestic oppression and unexamined expectations of motherhood — but it’s also its own kind of body-horror story, as its heroine finds herself indulging in the urge to swallow things that were never intended for human consumption. These increasingly disturbing spectacles are enfolded in a movie that’s otherwise mesmerizingly beautiful, like a dream that gives way to a nightmare before dumping you, abruptly, back into the land of the living.
Autobiographical tales of trauma don’t come much more wrenching than Rewind, director Sasha Neulinger’s non-fiction investigation into his painful childhood. A bright and playful kid, Neulinger soon morphed into a person his parents didn’t recognize – a change, they soon learned, that was brought about by the constant sexual abuse he (and his younger sister Bekah) was suffering at the hands of his cousin and two uncles, one of whom was a famed New York City temple cantor. Its formal structure intrinsically wedded to its shocking story, Neulinger’s film reveals its monstrous particulars in a gradual bits-and-pieces manner that echoes his own childhood process of articulating his experiences to others. 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. Most of all, though, it’s a saga about perseverance and bravery, two qualities that Neulinger – then, and now – exhibits in spades.
The modern gig economy is set up so that the customer rarely has to think very much about the person delivering a package to their door. Sorry We Missed You, the latest working class social drama from 83-year-old English filmmaker Ken Loach, is a harsh reminder that those piles of cardboard Amazon boxes have a human cost. The film follows married couple Ricky (Kris Hitchen) and Abbi (Debbie Honeywood) as they attempt to raise their two kids, keep their humble home in Newcastle, and and hold down jobs stripped of conventional protections. As Ricky’s domineering boss tells him at the beginning of the movie, he’s not an “employee.” No, he’s his own small business owner and independent contractor. Loach finds dark laughs and absurdity in the the convoluted language of precarity, particularly the way management attempts to sell poor working conditions as a form of empowerment, but he also captures the tender, intimate moments that occur in even the most soul-sucking jobs. Ricky and his daughter find joy in knocking on doors and leaving notes; Abbi, who works as a nurse, genuinely cares for her patients like her own family even if the company she works for refuses to pay for her transportation. Though the script leans too hard on melodrama in its final stretch, setting up scenes that don’t always deliver on their dramatic potential, Loach never loses his moral grasp on the material. Read extra information on watch tv series online.
5KPlayer, the final entry on the list of recommended Windows media players, is a top-rated video player for Windows 10 as it’s extremely compatible. It claims to play almost all kinds of videos and music without any plug-ins, and it actually delivers. Its interface is very clean and simple. It’s also known for its more streaming options. 5KPlayer also lets you import videos and music from websites like YouTube, Facebook, Vimeo, MTV, etc. It goes without saying that it’s compatible with common formats like MP4, MOV, M4V, MP3, AAC, etc.
Tom Hardy’s gift for hulking intensity and charismatic growling are in full effect in Capone, a fictionalized account of the last year in the life of the legendary American gangster. 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. Writer/director Josh Trank’s film is a subjective affair told largely from Capone’s POV, so that nothing can be trusted and yet everything speaks, symbolically, to the man’s deep-seated ambitions, fears and misgivings. 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. 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.
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