See top tv movies online this day? 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.
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.
Czech artist Barbora Kysilkova responded to the theft of two prized paintings by befriending Karl-Bertil Nordland, the drugged-out gangster behind the crime. Benjamin Ree’s intriguing The Painter and the Thief tells the tale of their unlikely relationship from both of their perspectives, charting its ups and downs with formal astuteness and inviting intimacy. Beginning with Kysilkova’s decision to paint Nordland’s portrait (peaking with one of the year’s most stunning scenes), their bond is forged by underlying similarities: traumatic and abusive pasts, as well as their habit of risking their lives for their addictions – in his case, drugs; in hers, painting. Ree reveals such connections through subtle juxtapositions that emerge naturally from his subjects’ day-to-day travails, which eventually involve financial hardships and a near-fatal car crash for Nordland. In private moments alone and between the two, the director illustrates how the act of seeing each other – truly, and without prejudice – is key to their shared affection, thereby turning his documentary into a tribute to the transformative power of empathy. Discover more details on movies123.
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.
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. 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). No amount of adult counter-programming can affect the kid, and when he attacks a female teacher (Myriem Akheddiou) for her modernist Islamic teachings, he winds up in a juvenile detention center and, then, at a farm where the affections of Louise (Victoria Bluck) complicate his worldview. With a stony countenance and dark eyes that mask his interior thoughts, Ahmed is a chilling protagonist in thrall to a rigid ideology that preaches violence against all heretics. Their handheld camerawork trailing him as he embarks on his cataclysmic rise-and-fall journey, the directors’ aesthetics are as formally rigorous and evocative as ever, capturing the unyielding nature of zealotry, as well as the difficulty of loosening extremism’s terrible grip on individuals’ hearts and minds. Discover additional details at here.