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Best rated free watch movies online websites in Thailand? Romanian director Corneliu Porumboiu loves to play with procedure and form; he’s an ideal director for playful tales about bureaucrats, cops, and other officials in a country still wrestling with the decades-long fallout from a communist dictatorship. His movies are cosmic comedies shot through with moments of ironic tragedy, and this crime comedy-drama might be his weirdest one yet. It starts off as a bizarro tale about a policeman who has to learn a “whistling” language used by the inhabitants of one of the Canary Islands in order to help free a gangster from prison, then twists into a moving meditation on love, loyalty, and self-improvement. Best experienced without knowing anything beforehand; I’ve already said too much! Read more details at https://movie-steam.com/.

Despair, desire, and madness are all entangled in Josephine Decker’s Shirley, about the late horror writer Shirley Jackson’s (Elisabeth Moss) attempt to pen her sophomore novel Hangsaman while dealing with her unfaithful critic/professor husband Stanley Edgar Hyman (Michael Stuhlbarg) as well as two boarders, aspiring academic Fred (Logan Lerman) and his pregnant wife Rose (Odessa Young). The director’s follow-up to Madeline’s Madeline is a psychosexual affair about lost women driven crazy by callous, self-serving men, and their resultant fears and needs. As with her acclaimed debut, Decker’s latest recounts its action through expressionistic visuals—smeary, off-center compositions; intense close-ups; dreamy interludes in which fantasy and reality blend together—and a score of jangly, strident strings, rumbling bass and thunderstorm crashes. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. It’s Young, however, who holds the hothouse material together as the self-actualizing Rose, whose journey mirrors that of the missing girl Jackson is writing about, and who serves as the beating heart of this slyly furious film.

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ออซ เพอร์กินส์เป็นนักแต่งบทเพลงสยองขวัญที่จดจ่ออยู่กับความเศร้าโศกและความเป็นตัวแทนของผู้หญิง และทั้งสองปัจจัยสำคัญต่อการจินตนาการถึงบรรยากาศของเขาใหม่ ของเทพนิยายคลาสสิก ในชนบทที่รุมเร้าด้วยโรคระบาดที่ไม่รู้จัก เด็กสาววัยรุ่น Gretel (คือ Sophia Lillis) ปฏิเสธที่จะทำงานเป็นแม่บ้านของชายชราผู้น่าขนลุก และแม่ของเธอจึงไล่เธอออก ถูกบังคับให้พา Hansel (Sam Leakey) น้องชายของเธอเดินทางผ่าน ป่าดำไปจนถึงคอนแวนต์ที่เธอไม่สนใจเข้าร่วม ด้วยความหิวโหย ทั้งสองจึงมาที่บ้านของแม่มด (อลิซ คริจ) ซึ่งงานฉลองนั้นน่ารับประทานพอๆ กับบทเรียนเวทมนตร์ของเธอสำหรับเกรเทลที่คอยเสริมพลังและทำให้ตกใจไปพร้อม ๆ กัน เพอร์กินส์ค่อนข้างใกล้ชิดกับการเล่าเรื่องของแหล่งที่มาของเขาในขณะที่ยังคงปรับเปลี่ยนเรื่องราวเกี่ยวกับพลังและความเป็นอิสระของผู้หญิง และต้นทุนที่อาจเกิดขึ้นในการได้มาซึ่งทั้งสองอย่าง ด้วยภาพมารร้ายที่ไร้ยุคสมัย (เต็มไปด้วยสัญลักษณ์รูปสามเหลี่ยมนอกรีต เงาหมวกแหลม และหมอกในตอนกลางคืน) และมีความน่ากลัวที่กลายเป็นตัวหนังสือที่น่าขบขัน ณ จุดหนึ่ง Gretel & Hansel ร่ายมนตร์ที่ให้ความรู้สึกเก่าแก่และแปลกใหม่

เรื่องราวแห่งความโลภ สถานะ และความไร้สาระ Bad Education แบ่งปันคุณสมบัติมากกว่าสองสามข้อกับมหากาพย์อาชญากรรมทางการเงินของ Martin Scorsese เรื่อง The Wolf of Wall Street เรื่องราวของผู้ต่อสู้ในเกาะลองไอส์แลนด์อีกคนด้วย ผมหยักศก การซื้อขายหุ้นในระบบการศึกษาของภาครัฐ สารคดีแนวดราม่าของผู้กำกับคอรี ฟินลีย์ ซึ่งได้รับแรงบันดาลใจจากนิตยสารนิวยอร์กฉบับปี 2547 ได้สร้างแผนภูมิการล่มสลายที่น่าเศร้าของการ์ตูนเรื่อง Roslyn School District ผู้กำกับ Frank Tassone (ฮิวจ์ แจ็คแมน) ผู้มีเสน่ห์และ ผู้บริหารที่รักในพื้นที่มั่งคั่งเพิ่มขึ้น เมื่อผู้ช่วยผู้กำกับแพม กลัคกิน (แอลลิสัน เจนีย์) ถูกจับได้ว่าให้สมาชิกในครอบครัวตั้งข้อหาส่วนตัวโดยใช้บัตรเครดิตของโรงเรียน โลกแห่งสมูทตี้เพื่อสุขภาพ ชุดสูทราคาแพง และการหลอกลวงที่น่ายินดีของแฟรงค์ก็เริ่มคลี่คลาย การใช้นักข่าวหนังสือพิมพ์ระดับไฮสคูลเป็นตัวแทนผู้ฟัง (Geraldine Viswanathan) บทภาพยนตร์ได้ระงับรายละเอียดที่สำคัญเกี่ยวกับชีวิตของแฟรงก์ไว้เป็นช่วงๆ ของรันไทม์ ทำให้แจ็คแมนแสดงการแสดงที่ค่อยๆ เผยให้เห็นชั้นใหม่ๆ ของความซับซ้อนทางอารมณ์และความว่างเปล่าทางศีลธรรม เช่นเดียวกับแหนบที่แฟรงค์ใช้ถอนขนจมูกตามหน้าที่ ภาพยนตร์เรื่องนี้ใช้วิธีการผ่าตัดในเรื่องนั้น

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ละครประวัติศาสตร์ที่ทรงพลังและวิจิตรบรรจงของ Kantemir Balagov ผู้กำกับชาวรัสเซีย (ซึ่งสมควรได้รับการเสนอชื่อเข้าชิงออสการ์เป็นอย่างน้อยในปีนี้ แม้จะเข้าชิงแต่ไม่ได้เข้ารอบ 5 คนสุดท้าย) ตามมาด้วยสองเรื่อง ทหารผ่านศึกหญิงพยายามเชื่อมต่อกับชีวิตหลังสงครามเซนต์ปีเตอร์สเบิร์ก มันเริ่มต้นจากโศกนาฏกรรมที่ไม่อาจบรรยายได้ — ผู้กำกับหนุ่มคนนี้เป็นที่รู้จักในเรื่องการวางกับดักในภาพยนตร์ของเขาด้วยภาพที่ทำลายล้างเป็นครั้งคราวหรือการพัฒนาโครงเรื่อง — ซึ่งทำให้เกิดกลเม็ดทางอารมณ์และโครงสร้างที่โดดเด่น ในขณะที่ตัวละครต่อสู้กับความบอบช้ำของตัวเอง เราก็กำลังเผชิญกับผลที่ตามมาจากสิ่งที่เราได้เห็น สิ่งที่ทำให้ทุกอย่างทำงานได้ — และทำงานได้อย่างสวยงาม — คือคำสั่งในภาษาภาพยนตร์ที่เกือบจะเหนือธรรมชาติของ Balagov: ความสง่างามของการเล่าเรื่องของเขา การใช้สีที่สดใสและเป็นสัญลักษณ์ การแสดงมนุษยนิยมในการแสดง คุณสามารถดื่มด่ำกับความเพลิดเพลินในโรงภาพยนตร์ของ Beanpole ในขณะที่หัวใจของคุณแหลกสลายไปพร้อม ๆ กัน

Urmareste seriale online excelente pe RomaSeriale

Urmareste seriale online de calitate pe internet? La bloc : Serialul tv românesc a fost produs din anul 2002 și până în anul 2007 de către MediaPro Pictures. A fost difuzat de PRO TV ani de zile, apoi de către Acasă TV. Serialul a fost inspirat din umorul vremurilor respective, de pe ”scara blocului”. Serialul ”La bloc” a fost creat, scris și regizat de către Răzvan Andrei, Radu Dragomir, Dragoș Moștenescu și Răzvan Săvescu. S-au muncit 2.620 de ore la filmarea lui, în 13 sezoane, cu 525 de episoade, 6 ani de producție, 270 de ore de emisie și 1 copil născut în direct. Filmările echipei pentru acest serial au avut loc dimineața, de la 8:30, până spre orele 22 respectiv 23 seara. Serialul e construit în jurul a 2 personaje a căror existență este centrată in jurul spațiului în care locuiesc: Nelu Curcă și Costel Jurcă. Primul este taximetrist iar al doilea este gestionar. Alături de soțiile lor, Suzi, respectiv, Lilli, cei doi visează la o viață mai bună și la o îmbogățire rapidă. Stilul lor unic nu lasă prea mult loc bunelor maniere, stil specific și societății din ziua de azi.

Omer si Elif par a fi foarte diferiţi unul de altul, singurul lucru care ii uneşte este dragostea dintre ei, puternica, pura si uimitoare. Urmareste Kara Para Ask episodul 54 subtitrat. In serialul Kara Para Ask joaca actorii Engin Akyürek, Tuba Büyüküstün, Nebahat Çehre, Erkan Can as Tayyar, Hazal Türesan, Burak Tamdoğan, Tuvana Türkay, Saygın Soysal, Bestemsu Özdemir, Işıl Yücesoy. Omer lucreaza la departamentul de crimă organizată si este foarte dedicat carierei sale, iar Elif este o fata dintr-o familie bogata si este un designer de bijuterii si locuieste in Italia unde are afacerea ei proprie. Viata este imprevizibila si face ca cei doi sa se intalneasca exact la timpul si momentul potrivit la Istanbul, acestia ajung acolo cu scopuri diferite si ajung sa aiba un scop comun. Vezi mai multe detalii pe acest site Romaseriale.

Păcatele Evei: Este o telenovelă difuzată pe Acasă TV în anul 2005. Este produsă de celebra Ruxandra Ion, supranumită și ”Mama telenovelelor românești”, cu ajutorul MediaPro Pictures. Serialul este format din doar 1 singur sezon ce conține 45 de episoade. fiecare episod are o durată de 50 de minute. Rolurile principale sunt interpretate de actorii Oana Zăvoranu și Alexandru Papadopol. Din distribuție mai fac parte și: Diana Dumitrescu, Lili Sandu, Razvan Fodor, Maria Dinulescu, Pavel Bartoș, Bianca Neagu, Tora Vasilescu și mulți alții. Succesul a fost de scurtă durată, din păcate.

Povestea urmărește o idilă ce începe cum nu se poate mai prost, între doi oameni care nu au nimic în comun. Reyhan este o fată de la țară, frumoasă și cuminte, care, după ce rămâne orfană, ajută un vechi prieten al familiei sale, Hikmet. Acesta este un om bogat, care tocmai a primit un diagnostic teribil, de boală terminală. Din distributie fac parte actorii: Özge Yagiz, Gokberk Demirci, Can Verel, Munise Özlem, Ceyda Olguner, Gül Arcan, Berkent Müftüler, Derya Kurtulus, Cansin Mina Gür, Tugçe Ersoy, Mustafa Simsek, Esra Çoban.

Kumsal este o tânără care are de toate, dar nu este fericită. Face tot ce spune tatăl ei și nu simte că are libertate. Pentru a-și obține libertatea, vrea să meargă la universitate din Istanbul. Cu toate acestea, tatăl ei vrea să meargă la universitate în Izmir, unde locuiesc și vrea să devină arhitect de succes la fel ca el. În ciuda voinței tatălui ei, Kumsal aplica în secret la o universitate din Istanbul și este acceptata. Când tatăl ei nu îi aprobă decizia, Kumsal se află într-o situație disperată. Între timp, ea se intalneste cu Batu, care este un tip frumos și fără griji. In serialul Numele fericirii joaca actorii: Dilara Aksüyek, Begüm Atak, Zeynep Bastik Asli Bekiroglu, Fatih Dönmez, Ezgi Eyüboglu, Orçun Iynemli, Yagmur Kasifoglu Yagiz Can Konyali, Ceyhun Mergiroglu, Onur Alp Sancaktar, Kaan Yildirim, Kaan Çakir. Citeste mai multe detalii pe acest site Seriale Turcesti.

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Dramas don’t come much bleaker than Beanpole, director Kantemir Balagov’s wrenching story about the damage caused by war, and the exceedingly high cost of survival. In a 1945 Leningrad still recovering from the end of WWII, lanky Iya (Viktoria Miroshnichenko), aka “Beanpole,” works as a nurse even though her military service has left her with a condition in which she becomes temporarily frozen. Iya cares for Pashka (Timofey Glazkov), the young son of her frontlines friend Masha (Vasilisa Perelygina), and when Masha appears to reclaim her child – only to learn of an unthinkable tragedy – their relationship buckles under the weight of grief, guilt, regret, resentment and need. Cruel blackmail soon proves to be Masha’s means of coping with loss, but healing is in short supply in this ravaged milieu. Shot in alternately tremulous and composed handheld, director Balagov’s long takes place a premium on close-ups, the better to convey the dizzying anguish of his subjects, who are as decimated as their environment. Overpoweringly desolate and moving, it’s a vision of paralyzing individual, and national, PTSD – and, ultimately, of women banding together to forge a new future.

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Russian director Kantemir Balagov’s soul-crushingly powerful and exquisitely mounted historical drama (which really deserved at least an Oscar nomination this year; it was short-listed but didn’t make the final five) follows two female veterans trying to reconnect with life in postwar St. Petersburg. It starts off in unspeakable tragedy — the young director is known for booby-trapping his films with the occasionally devastating image or plot development — which makes for a striking emotional and structural gambit. As the characters wrestle with their own trauma, we, too, are dealing with the consequences of what we’ve seen. What makes it all work — and work so beautifully — is Balagov’s almost supernatural command of film language: the elegance of his storytelling, the vivid, symbolic use of color, the humanism of the performances. You can bask in Beanpole’s cinematic delights while simultaneously having your heart ripped to shreds.

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Becker disappeared from the channels we can get (over 275) about three years ago. I love the show. We used to record it and then watch it each night just before going to bed. It was a perfect cap on our day. Then it stopped being available. I searched every few weeks, but no channel carried it. Now, three years later, the complete series was released. We pre-ordered it. When it arrived, I was amazed. The shows are perfect! They are fully original and the quality is pristine. CBS, who owns the program apparently, has released this set. For a truly bargain price you get 17 CD’s with every single episode in the series. Find extra details on Becker Complete Series DVD.

A chronicle of greed, status, and vanity, Bad Education shares more than a few qualities with Martin Scorsese’s financial crimes epic The Wolf of Wall Street, the story of another Long Island striver with slicked-back hair. Trading the stock market for the public education system, director Cory Finley’s wry docudrama, which takes its inspiration from a wild New York Magazinefeature from 2004, charts the tragi-comic downfall of Roslyn School District superintendent Frank Tassone (Hugh Jackman), a charming and beloved administrator in a rising wealthy area. When his assistant superintendent Pam Gluckin (Allison Janey) gets caught allowing family members to make personal charges using the school’s credit cards, Frank’s world of healthy smoothies, expensive suits, and gleeful deception begins to unravel. Using a high school newspaper reporter as an audience surrogate (Geraldine Viswanathan), the script withholds key details of Frank’s life for large sections of the runtime, allowing Jackman to give a performance that gradually reveals new layers of emotional complexity and moral emptiness. Like the tweezers Frank uses to dutifully pluck his nose hairs, the movie takes a surgical approach to its subject.

A few words on streaming services : As for sports, Hulu’s lineup includes BTN, CBS Sports, ESPN, ESPN 2, ESPNEWS, Golf Channel, and Olympic Channel. That’s all in addition to local channels you get in your zip code, such as ABC, CBS, FOX, and NBC cable affiliates. Recently, Hulu announced that it would add NFL Network and NFL RedZone to its channel lineup by August 1. It is unclear whether either of these additions will increase Hulu’s subscription costs, however. FuboTV, Sling TV, and YouTube TV all include the NFL Network channel in at least one of their plans and offer NFL RedZone as part of an add-on package. While Hulu’s lineup features NBC-owned RSNs, it lacks most AT&T-owned RSNs (except for SportsNet NY) and every Sinclair-owned Bally Sports RSN (previously, these were FOX Sports RSNs). AT&T TV is the only live TV service we’ve reviewed that includes RSNs from AT&T, NBC, and Sinclair, though it is missing a few NBC Sports RSNs. Make sure to find out which RSN airs your local team’s games before committing to any sports streaming service.

The modern gig economy receives a thorough thrashing by Ken Loach’s Sorry We Missed You, another sober class-conscious drama from the celebrated British director. Faced with limited professional options, Ricky (Kris Hitchen) gets a job as a delivery driver for a company that doesn’t technically hire him; rather, he’s “self-employed,” meaning the onus for everything falls on his shoulders. That proves to be an arduous state of affairs given that his wife Abbie (Debbie Honeywood) is a home care nurse who works long hours (also for “herself”), and their son Seb (Rhys Stone) is a school-skipping, graffiti-spraying teen who – having seen the incessant, back-breaking toil and anxiety that comes from his parents’ chosen paths – has opted instead for delinquency. As hardships mount, Loach incisively details the major and minor ways in which this contractor-oriented paradigm is fundamentally rigged against workers. His despairing condemnation is all the more wrenching for coming via a deeply empathetic portrayal of an everyday clan buckling under the strain of unjust forces out of their control. Read additional info at https://www.dvdshelf.com.au/..

Exhilaratingly political but unfailingly intimate, Eliza Hittman’s third film is a thriller whose antagonist isn’t a person, but a society bent on treating the bodies of the main characters as common property. Never Rarely Sometimes Always takes place over the course of a few days in which a pregnant teenager travels with her cousin to New York City to obtain the abortion that restrictions have made unavailable to her in their home state of Pennsylvania. The precariousness of their situation, which soon stretches beyond the capacity of their meager resources, is counterbalanced by the strength of their bond. Newcomers Sidney Flanigan and Talia Ryder aren’t just magnetic — they convey, often without words, what it means to have someone to really rely on.

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Some words about streaming services : The No Commercials price tier still displays ads for a few programs per streaming rights, but to Hulu’s credit, it is upfront about this limitation. At present, these shows are Grey’s Anatomy and Marvel’s Agents of S.H.I.E.L.D., but this list of shows is subject to change. Ads in the basic plan are no worse than regular television, but they are jarring and obnoxious for on-demand content. When we watched an episode of Killing Eve, the stream was interrupted five times for commercial breaks, some of which included several back-to-back ads. If you’re getting rid of cable to avoid commercials, you’ll definitely want the No Commercials tier. Maybe you decide that your current Hulu plan isn’t right for you or you don’t want to pay for Hulu at all. Check out our guide on how to modify or cancel your Hulu subscription. Hulu also offers Cinemax ($9.99), HBO Max ($14.99), Showtime ($8.99), and Starz ($8.99), add-ons, which let you watch shows and movies from those networks along with their live feeds. Additional add-ons specifically for the Live TV plans include Enhanced Cloud DVR (200 total hours of storage plus the ability to fast forward through ads) and Unlimited Screens (no restrictions on simultaneous streams over your home network), which cost $9.99 per month each or $14.98 per month for both. You can also opt for the Entertainment ($7.99 per month) or the Español ($4.99 per month) Add-ons.

Where to buy the handmaid’s tale season 4 dvd? “Handsome, clever and rich” is how Emma’s tagline describes its matchmaking heroine (Anya Taylor-Joy), but it’s also an apt summation of director Autumn de Wilde’s Jane Austen adaptation, which is energized by meticulous style, spirited wit and passionate emotions. Hewing closely to its source material, the film charts Emma Woodhouse’s efforts to find a suitor for her doting companion Harriet Smith (Mia Goth) while struggling with her own blossoming feelings for her sister’s brother-in-law, George Knightley (Johnny Flynn). Round and round the romantic entanglements go, not only for these three characters but a host of others that de Wilde and screenwriter Eleanor Catton faithfully delineate in clean, bright brushstrokes. Its studied imagery suggesting a daintier variation on Wes Anderson’s trademark visuals, Emma boasts an aesthetic confidence that’s matched by its performers. At the head of that impressive pack (which also includes Bill Nighy) is Taylor-Joy, whose Emma exudes just the right amount of playful cockiness and ambition – qualities ultimately undercut by her realization that no amount of manipulations can change what the heart wants. See additional info at the handmaid’s tale season 4.

The second feature to go out under the aegis of Barack and Michelle Obama as part of their Higher Ground series for Netflix, it’s an inspirational civil-rights documentary that sounds as if it’s going to be Good for You rather than good but turns out to be both. Directed by Nicole Newnham and Jim LeBrecht (who was born with spina bifida and appears onscreen), the film begins in 1971 in the Catskills’ Camp Jened, where teen and 20-something “cripples” (a word then used) are elated by the freedom to shed their defenses and feel at home. Their camp experience lays the foundation for a seminal demonstration in which disabled people (among them the commanding Judy Heumann) occupy HEW headquarters for more than a week. It’s both a profile of people determined not to be invisible — merely getting to the point where they could make themselves seen required a psychological revolution — and a rousing celebration of the activist counterculture that inspired and sustained them.

Andrew Patterson’s The Vast of Night is a marriage of the old and the new, blending effects-aided cinematic showmanship to old-school radio drama. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself. Find even more info on https://www.bilidvd.com/.

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Awesome dvd online shopping right now? 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.

A few words on streaming services : Netflix’s base plan now costs more than Hulu, at $8.99 per month. Netflix doesn’t run traditional ads on any of its content, but you need to pay more (at least $13.99 per month for the Standard plan) if you want to stream HD content and stream on more devices simultaneously. Paramount+’s ad-free tier is $9.99 per month, while HBO Max comes in at a much pricier $14.99 per month. Amazon Prime Video is at $8.99 per month. Shudder, a horror-focused streaming service, matches the price of Hulu’s ad-supported plan, but doesn’t show ads. Apple TV+ is cheaper than all of them at $4.99 per month. As for cable-replacement services, Hulu + Live TV costs the same as YouTube TV ($64.99 per month). Philo ($20 per month) and Sling TV’s Orange & Blue plans ($35 per month each or $50 together) are significantly cheaper. FuboTV starts at a slightly more affordable $59.99 per month, while AT&T TV’s entry-level tier is $69.99 per month, respectively. None of these services offer on-demand content libraries as complete as Hulu’s. You don’t necessarily need to pay to get video streaming entertainment. Our roundup of the best free video streaming services offers both on-demand services and those with preprogrammed channels. Apart from streaming Hulu on the web, you can download apps for mobile platforms (Android and iOS), media streaming devices (Apple TV, Chromecast, Fire TV, and Roku), smart TVs, and game consoles (PlayStation, Xbox One, and the Nintendo Switch). Hulu’s live TV tier is available on the PlayStation 4, but PlayStation 3 users are still out of luck when it comes to live TV. When you log in to Hulu for the first time, the service walks you through some personalization options in which you choose, channels, genres, and shows that appeal to you. Hulu uses this information to populate the My Stuff section of the web interface, a feature we discuss a bit later.

Bio-terror comes in corrupting forms in The Beach House, whose contagion-based scares speak, subtly if severely, to our present moment. On a Cape Cod getaway, aspiring astrobiologist Emily (liana Liberato) and her going-nowhere boyfriend Randall (Noah Le Gros) wind up sharing accommodations with fiftysomething couple Jane (Maryann Nagel) and Mitch (Jake Weber), friends of Randall’s dad. Drinks and hallucinogenic edibles help alleviate the initial awkwardness of this get-together, but the good times are fleeting, thanks to a strange mist emanating from the dark, furious depths of the ocean, which contaminates the area with glowing Lovecraftian foliage and giant, slimy organisms. The normal order is quickly turned on its axis—quite literally, in one unforgettable shot—as alien forces infest, infect and annihilate. Aided by Liberato’s accomplished performance, first-time writer/director Jeffrey A. Brown stages his mayhem with assured efficiency, creating an air of impenetrable mystery through uneasy silence, compositions that devolve into cascading bubbles and a squishy foot-surgery sequence that would make body-horror maestro David Cronenberg proud. Read extra info on grey’s anatomy season 17.

At first blush it’s easy to dismiss Birds of Prey. But this feverish spectacle directed by Cathy Yan and scripted by Christina Hodson is a triumph that takes the typically limp superhero genre and injects it with life and bravado as it traces Harley Quinn’s (played by a brilliant Margot Robbie) emancipation from the shadow of her relationship to the Joker. What could have been a trifle turns out to be a rich reimagining of Gotham City into a glittery haven for criminals like Ewan McGregor’s prancing Black Mask and his right hand, Victor Zsasz (Chris Messina stealthily turning in one of the best performances in the film), who are nipping at Harley’s heels over a lost diamond. The plot is besides the point. What matters is the visceral experience. The costume design by Erin Benach is iconoclastic, drenching Harley in a confetti-and-caution-tape aesthetic. The supporting actors give surprisingly realized turns, especially Mary Elizabeth Winstead as the awkward but committed assassin Huntress on a mission of vengeance, and Jurnee Smollett-Bell’s high-kicking fearsome Black Canary. What makes the film sing at the right register of pleasure is its commitment to crafting some of the most audacious, eye-catching, and bone-crunching action set pieces that brim with humor and complication thanks to stunt coordination and fight choreography by Chad Stahelski. We got to see the film four times in theaters before all of this happened, and with each viewing our hearts burst with more appreciation for this scrappy, wild, bombastic film.

Gaslighting gets downright monstrous in The Invisible Man, a 21st-century take on Universal’s classic unseen specter. Helmed with playful menace by Leigh Whannell, whose camerawork and compositions constantly tease subtle action in the corners of the frame, this slick genre effort finds Elisabeth Moss trying to convince anyone who’ll listen that she’s not crazy, and really is being hunted by her supposedly dead abusive boyfriend. Since said predator isn’t visible to the human eye, however, that’s not an easy task. Hot-button issues emerge naturally out of this basic premise, thereby letting Whannell sidestep overt preaching in favor of orchestrating a series of finely tuned set pieces in which lethal danger might materialize at any moment, from any direction. Avoiding unnecessary diversions or italicized politics, the filmmaker streamlines his tale into a ferocious game of cat-and-mouse, with Moss commanding the spotlight as a woman tormented both physically and psychologically, and determined to fight back against her misogynistic victimization. Read more information at https://www.dvdshelf.com.au/.