Projectfreetv - Projectfreetv Movies Online

Projectfreetv Synchronic
A satire on everyone who's too big for their boots (or secretly wants 2 B), because they will not achieve the aims they pursuit and are ultimately doomed to be separated from their privileges when they wake up to reality. The story may also come across as remote parody on The Last Supper, but from the bourgeois point of view (who never really get their supper), in contrast with 'Viridiana' (1961, Buñuel), where the poor and disabled DO get their Last Supper. But I don't know much about the bible, so I'm probably wrong about that. It proves though that you don't have to be pious to appreciate Buñuel's films; in fact, you'd better NOT be.

The 'adventure' of the protagonists is a proverbial sinking ship, because they seem to know what they want, but never reach their goal, which is quite simple and basic (to eat), because they're so caught up in supposed etiquette. They have all kinds of knowledge about manners and gestures, but they cannot sit down and eat. That is actually a fairly clear message: 'look before you leap' or 'behold the priorities of life'.

What's more indiscrete: drinking a martini the wrong way, or selling cocaine abusing your position as an ambassador and fooling around in the garden while you're having friends over for diner? And are you ultimately discrete simply because nobody discovers your subversive or criminal actions? These guys just can't control their carnal and financial lust, while complaining: 'No system can give the masses the proper social graces. But you know me, I'm not a reactionary.' Blah.

Cinematographer Edmond Richard (Le Procès (1963, Welles), Fantôme de la liberté, Cet obscur objet du désir) exhibits his excellent collaboration with Buñuel's visions. Buñuel tried before to make it easier for audiences to understand the imagery by incorporating it in a dream sequence (e.g. Tristana, 1970), but he returns here (as in Belle de Jour, 1967) to the early days (1930) where the dream sequences were just put forward as if they were reality. You'll never know what is a dream and what is real. As always, there is no music here to guide you, apart from the ringing church bells. Just open up your ears and clean out your eyes and you'll not be disappointed.

One last remark: the cover of the video is definitely one of the most applicable and distinctive covers (Ferracci) ever made, as is the cover of 'Fantôme de la liberté' (an odd-faced statue of liberty with a limp torch) by Jean-Paul Commandeur and the cover of 'Cet obscur objet du désir'. Buñuel didn't worry about the surrealism in his own life. He seemed to live in harmony with all his contradictions and hypocrisy.

10 points out of 10 :-)
Director: Justin Benson, Aaron Moorhead
Cast: Jamie Dornan , Anthony Mackie , Katie Aselton , Ally Ioannides , Bill Oberst Jr. , Natasha Tina Liu , Devyn A. Tyler , Aaron Groben , Betsy Holt , Martin Bats Bradford , Lawrence Turner , Kate Adair , Shane Brady , Walker Babington , Carl Palmer

Projectfreetv Mulan
A young Chinese maiden disguises herself as a male warrior in order to save her father.
Director: Niki Caro
Cast: Yifei Liu, Donnie Yen, Li Gong, Jet Li, Jason Scott Lee, Yoson An, Tzi Ma, Rosalind Chao, Pei-Pei Cheng, Xana Tang, Ron Yuan, Jun Yu, Chen Tang, Doua Moua, Jimmy Wong

Projectfreetv The Call
This is a simple story about a fortune teller (Chishu Ryu, who 2 years later would be in "Late Spring" looking like he aged 25 years) who brings home a lost boy. No one wants to take over the burden of caring for the kid, but Otane eventually has to (played by Lida Choko). She clearly wants to get rid of him after going to the place where the kid and his father lived, to find out the father deserted him. He wets the bed and thinks she'll throw him out anyway, because she shows no affection for the boy, but gradually warms to him. Ozu's film is simply told, but there is a sociological underpinning to it that is complex. This situation of deserted children in war and post war Japan had to be a significant one and it is told plainly but effectively. In the small community (with wide open spaces where buildings should be), there is camaraderie and that is heartwarming. It is a fairly short film, just 72 minutes, but the length of the film is perfect. Like many of Ozu's films, this features many of the actors/actresses that were in other films of his, but that is good. They know their roles so well and play them well. Not a masterpiece, but a worthy film to watch.
Director: Timothy Woodward Jr.
Cast: Lin Shaye, Tobin Bell, Chester Rushing, Erin Sanders, Mike Manning, Sloane Morgan Siegel, Judd Lormand, Randy J. Goodwin, Brooklyn Anne Miller, Leah Contreras, Toby Leeder, Aidan Bertola, Madeleine Wade, Ciara Hanna, Fred Stoller

Projectfreetv The Craft: Legacy
The Skull is probably the best film Amicus produced,based on a chilling short story by Robert Bloch and directed with visual flair by Freddie Francis it tells the story of a writer on Demonology ; Christopher Maitland(Peter Cushing excellent as usual) who is offered a skull and a fleshbound book originally belonging to none other than the Marquis de Sade for a mere £500,at first he is skeptical of its provenance but finally agrees to buy it from Marco a shifty character(memorably played by Patrick Wymark)who previously stole the skull and book from Sir Matthew Phillips(Christopher Lee)who had fallen under it's sinister spell in the past and was glad the skull and book had been stolen,Matthew tries to convince Christopher of its evil power and advises him to get rid of it as soon as possible,but to no avail,Christopher keeps the skull and begins to come unstuck, he starts hallucinating and having bizarre dreams. All the performances are first rate,but this is Peter Cushings film,he is literally in every scene and gives a convincing performance of a man falling pray to evil. I can't help thinking this could have been a true classic if it had had a bigger budget. The whole cast and crew have worked wonders with what little money and resources they must have had,it also remains(in my opinion) Freddie Francis best film as a director....a must for a cold winters night.
Director: Zoe Lister-Jones
Cast: Michelle Monaghan , Cailee Spaeny , David Duchovny , Gideon Adlon , Nicholas Galitzine , Lovie Simone , Hannah Gordon , Charles Vandervaart , Julian Grey , Zoey Luna , Donald MacLean Jr. , Devin Cecchetto , Chris Tomassetti , Owen Szabo , Mike Dara

Projectfreetv Follow Me
in classical Chinese painting, what gets left out of the composition is of crucial importance. potter's "rage" omits quite a few of the compositional elements we take for granted as essential in modern cinema - a bold move in a world dominated by Hollywood tropes and CGI. "rage" isn't what i'd call an experimental film, it's a film produced with an acute awareness of cinema as a super-saturated medium, in which the audience already knows all there is to be known. there are no new stories to be told; no killings which haven't been shown, no motivation which remains unexplored, no new formulas. but this literate, knowledgeable and sophisticated modern audience produces a space which can be activated by leaving things out, rather than putting things in. potter knows that all she needs to do is map out a bare structure, with sumptuous color and first rate actors, and all the rest of the work can be played out of the expectations we all bring to bear on the cinema experience. "rage" is a who-done-it, with andy warhol's "screen test" film series operating in the background, dressed with a kind of glossy-magazine-photoshopped look in which everyone's irises are a suspiciously similar sci-fi hue, and with a nice little twist in the end which implicates us, the passive viewers. i thought one of the most surprising things about the movie was the palpable "rage" expressed in other reviews on this site. we react like addicts when the sugar-candy experience of having everything laid out for our adrenal stimulation is withheld. this isn't a movie about the fashion industry, its about the modern obsession with surface, with effects, and its background theme is intensely political. it's characters are ciphers for the main players in the infotainment infiltrated everyday world, the businessmen, the celebrities, the wannabes, the innocents, the jaded old-hands, the haves and the have-nots. for those who were disappointed by this work, who weren't fascinated by watching, up close, great actors working, i sincerely hope michael bay's next SFX blockbusta isn't too far away. . .
Director: Will Wernick
Cast: Holland Roden, Ronen Rubinstein, Pasha D. Lychnikoff, Keegan Allen, Kimberly Quinn, Denzel Whitaker, Emilia Ares, Ravil Isyanov, Dominic Pace, Emily Hinkler, George Janko, Dimiter D. Marinov, Elizabeth Hinkler, Inja Zalta, Daniyar

Projectfreetv Antebellum
I was raised in Newport Beach, including Balboa Island, Lido Isle, Corona Del Mar and the peninsula where the famous Wedge is. In reality it is a wonderful city full of great down to earth people. Yes, there has been an influx of superficial people who have flocked there because of it's coastal beauty but they are as relevant to Newport Beach as the cast of Jersey Shore is to the best of the East Coast.

To this day the quiet neighborhoods of local inhabitants are no different than the best of kind and basically boring neighborhoods anywhere.

This show is nothing but a deeply cheap ploy to play on a beautiful and desirable city and fantasize on it's most imaginary superficial aspects to deliver pure crap to those who think they need a fix to accentuate their daily lives.

The residence of Newport Beach are being just as ripped off as the sorry viewers of this show.
Director: Gerard Bush, Christopher Renz
Cast: Arabella Landrum, Jena Malone, Eric Lange, Janelle Monae, Tongayi Chirisa, Achok Majak, Jack Huston, Kiersey Clemons, T.C. Matherne, Robert Aramayo, Marque Richardson, London Boyce, Bernard Hocke, Dayna Schaaf, Gabourey Sidibe

Projectfreetv The Empty Man
The Mod Squad centered around three youthful cops, that were recruited to the LA police force in the late 60s. This show was truly cutting-edge as a concept back then. Three cool, under thirty hipsters as cops?? Yep! And it worked, because this was one of the most popular crime dramas of all-time.

The Mod Squad included Pete Cochran, a rich kid looking for kicks, who runs afoul of the law. Then there's Linc Hayes, a black ghetto youth who's struggling to survive, and gets himself busted. Lastly, there's Julie, a gorgeous young woman who suffers from a sad home life, and flees it. She too gets wrapped-up in law-breaking. Instead of throwing these three offenders in the clink, Capt. Greer has the idea of making them undercover cops, as long as they all agree to obey the law from then on.

Linc, Pete, and Julie were the coolest cops on TV in the late 60s. They all dressed in the latest 60s youth fashions, used hip lingo, and had the street-smarts necessary to do their jobs, as cops in the urban jungle of LA. The three were almost like a family, with Capt. Greer looking out for them like a kindly father would.

By working together in harmony, the Mod Squad showed that the societal chasms of race, class, gender, and even generational strife, could be overcome. It may have been an idealistic vision, but then the 60s were an idealistic period. It was so positive to see the three very different Mod Squad members, have a cooperative working relationship, despite their differences. They set an example, that folks could strive to follow in real life.

I highly recommend the Mod Squad, and not only for those who are nostalgic for the 60s. It's simply a quality show, enjoyable for all ages. Like Linc Hayes would say, it's 'solid man'.
Director: David Prior
Cast: James Badge Dale , Stephen Root , Joel Courtney , Marin Ireland , Rasneet Kaur , Aaron Poole , Robert Aramayo , Samantha Logan , Evan Jonigkeit , Adam Ferguson , Robert Coutts , Robert Lee Davis , Connor Dowds , Jessica Matten , Ron Canada

Projectfreetv Six Minutes to Midnight
Winner of an Academy Award in 1945 for Best Documentary Short Subject, this brief (less than 20 minutes) piece provides highly dramatic footage of the 20/22 November 1943 assault by an American combined military force upon Japanese-held Tarawa Atoll, a Pentagon size islet that housed a strategically important air base for Japan, being located at the outer rim of its Pacific defense formation. Over a 76 hour period, nearly 10,000 lives were lost during fierce fighting that pitted the Second U.S. Marine Division against resolute opposition, visually recorded here as it occurred by 19 Division cinematographers under the supervision of Captain Louis Hayward, well-known film actor who, in addition to acquiring the Academy Award, earned a Bronze Star for his efforts. The film's initial scenes depict the approach, by U.S. Naval and Coast Guard convoy, of the Marines, supported by carrier aircraft, and we watch as sealed orders are physically transferred by steel cable between a transport to the command vessel, divulging the mission objective, following which troops prepare extra ammunition for loading, exercise to allay tension, and receive a briefing from their officers along with a blessing from the Division chaplain. The actual attack upon Tarawa is preceded by a four hour bombardment of the atoll from Naval artillery and aircraft that consumed more than four million pounds of explosives, for what was hoped would have a highly destructive effect upon an entrenched enemy. However, the defenders were not to be caught flat-footed, and before the gruelling battle was over, 1009 Marine and Naval personnel had died. It was one of the most savagely fought struggles within the Pacific Theater during the Second World War, and matters were made more difficult for the Americans due to drastic misreading of tide patterns by their leaders. This bungle becomes particularly meaningful after a viewer observes a religious service given by a Roman Catholic priest the night prior to opening of hostilities during which, as the camera eye pans over young Marine faces, the narrator states flatly: "Many of these men were killed the following morning." This concise but engrossing military documentary garnered an Academy Award for Warner Brothers, while its co-production unit, United States Office of War Information, would be able to take credit for sharply increasing the sale of war bonds to an aroused citizenry.
Director: Andy Goddard
Cast: Judi Dench , James D'Arcy , Jim Broadbent , Eddie Izzard , Carla Juri , David Schofield , Nigel Lindsay , Kevin Eldon , Rupert Holliday-Evans , Maria Dragus , Celyn Jones , Richard Elfyn , Tijan Marei , Franziska Brandmeier , Bianca Nawrath

Projectfreetv 2 Hearts
One of the funniest films ever. Several comic geniuses on the top of their form and more great lines and inspired sequences than I could begin to tell. And 'The Kangaroo Hop', the best song ever. See it now.

Nothing more to add. I wish everyone in the world had seen it so I wouldn't get strange looks when I suddenly start saying, 'LIAR!' or 'They BOUNCED out of the room...' Excellent, a million out of ten.
Director: Lance Hool
Cast: Jacob Elordi , Radha Mitchell , Steve Bacic , Adan Canto , Tiera Skovbye , Kari Matchett , Tahmoh Penikett , Neil Webb , Stefania Indelicato , Jordan Burtchett , Carolyn Adair , Anthony Konechny , Corey Woods , Georgia Bradner , Malcolm Stewart

Projectfreetv On the Rocks
Just watch anything else. Trust me. I LOVE fantasy. I LOVE sci-fi. This is neither. The costumes, the story-line, the 5000 year old TRUCKS that still has tires? The make-up, the stiff acting. Did I mention the story-line? Because there really isn't one. The thinnest gruel of a series EVER. Oliver Twist would have died of starvation on the first page had he been served something so vehemently thin and totally bland. Just don't. I wish I could have done something else with my life instead of watching those first 3 episodes. In the vain hope it would "pick up". It didn't. The best acting is done by....(spoiler alert!) the Tree!
Director: Sofia Coppola
Cast: Bill Murray, Rashida Jones, Marlon Wayans, Jenny Slate, Jessica Henwick, Barbara Bain, Nadia Dajani, Musto Pelinkovicci, Jules Willcox, Alexandra Mary Reimer, Evangeline Young, Ximena Lamadrid, Grayson Eddey, Mike Keller, Chase Sui Wonders

Projectfreetv After We Collided
(Many spoilers here)

Watched Series 1 & 2 episodes of S2. Why? The high rating fooled me - yet again. Kept hoping it would get better. After all, there are some big name (usually pretty good) actors in the mix. It did not get better, certainly not for me anyway.

I mean, just for starters, surely there would be a massive conflict of interest with the husband and wife working for opposite/opposing sides - this surely would not work at all in the 'real' world. It's not the least bit plausible, and very silly stuff. (*And yes, I am able to suspend belief for 'arts' sake, but on some things I just can't - not when everyone is taking things oh so seriously.)

And everyone overacts - a lot. Especially the 2 male leads. And the main female lead, the lady who is the "person whisperer" or whatever the hell she's supposed to be? Now that really stretches the imagination (see * above). But the very earnestness of those scenes were quite funny and at least made me laugh.

Said lady also plays the part of hubby's dominatrix - when he's not off at the S&M club finding someone else to fill in. Can she not work her magic and deliver her husband from the grip of his unfortunate proclivity - which you just know is eventually going to do him in bigly further down the track.

Nope. When you are at the point where you are hoping all the lead actors die horribly, you've seen enough.

I think the bit that actually earned my total and final contempt was the scene where Axelrod puts his feet up on his desk and the snowy white soles of his runners/trainers, front and (almost) centre of the screen, have not one tiny, teeny speck on them.

Then I thought ... hey, maybe that was just the Director's way of taking the p**s. Because of course ... Axelrod walks on air!

Now THAT I appreciate.
Director: Roger Kumble
Cast: Josephine Langford, Hero Fiennes Tiffin, Louise Lombard, Dylan Sprouse, Candice King, Charlie Weber, Max Ragone, Selma Blair, Shane Paul McGhie, Rob Estes, Karimah Westbrook, Samuel Larsen, Khadijha Red Thunder, Pia Mia, Inanna Sarkis

Projectfreetv The Witches
In the technical sense this is "limited" animation - the handful of animators (just four are credited) charged with bringing the story to life restrict themselves, when they can, to less than the full 24 frames per second, and often use all manner of cunning tricks to avoid having to animate at all. But the animation is emphatically NOT limited in any other sense. Neither the story, nor the world, nor the characters' freedom to move and breathe and think, has been constricted in any way; the animation (like the artwork generally) is simply GOOD, and there's an end to it. If your experience of "limited" animation is "South Park", you can be forgiven for thinking that "limited" is just a polite synonym for "bad", since "South Park" looks crude and awkward and just plain awful even when compressed to fit the tiniest of TV screens. But the glorious animation of "Grendel Grendel Grendel" expands to fill a wide cinema screen with no effort whatever.

To be blunt, "Grendel Grendel Grendel" is among the best animated features ever made: funny, sad, tense, relentlessly intelligent, what have you. If I say that there's a dragon who makes veiled allusions to Wittgenstein, that might convey something of the film's flavour; on the other hand, you might suspect this to be a sample of the kind of pointless eccentricity which film-makers (animators in particular) indulge in so that they won't be accused of being mainstream, and for no other reason. Not a bit of it. The film doesn't make a single false move or strike a single false note: every joke flows naturally out of its surroundings, and the film seems to be doing nothing so much as taking a healthy, childlike delight in its (surprisingly rich) material. I'm not saying this because I'm Australian. I'm as surprised that an animated movie this good was made in Australia, as anyone else. I'm even more surprised (despite the fact that it WAS made in Australia) that it's relatively unknown. You owe it to yourself to see it.
Director: Robert Zemeckis
Cast: Chris Rock, Jahzir Bruno, Octavia Spencer, Brian Bovell, Joseph Zinyemba, Josette Simon, Jonathan Livingstone, Miranda Sarfo Peprah, Ashanti Prince-Asafo, Lunga Skosana, Vivienne Acheampong, Sobowale Antonio Bamgbose, Ken Nwosu, Arnaud Adrian, Charles Edwards

Projectfreetv The Broken Hearts Gallery
What if you saved a souvenir from every relationship you've ever been in? THE BROKEN HEARTS GALLERY follows the always unique Lucy (Geraldine Viswanathan), a 20-something art gallery assistant living in New York City, who also happens to be an emotional hoarder. After she gets dumped by her latest boyfriend, Lucy is inspired to create The Broken Heart Gallery, a pop-up space for the items love has left behind. Word of the gallery spreads, encouraging a movement and a fresh start for all the romantics out there, including Lucy herself.
Director: Natalie Krinsky
Cast: Geraldine Viswanathan, Dacre Montgomery, Utkarsh Ambudkar, Molly Gordon, Phillipa Soo, Suki Waterhouse, Sheila McCarthy, Bernadette Peters, Nathan Dales, Ego Nwodim, Megan Ferguson, Nikki Duval, Emma Hunter, Taylor Hill, Randy Choi

Projectfreetv Rebecca
the BBC has the unique method of funding by taxation, which is great when they make great television, Life on Mar, Life on Earth, Dr Who and even Red Dwarf but to spend money on something so unfunny is a waste.

Sure its not always a good idea to compare like for similar but what made most of the Red Dwarf series great t.v. was narrative, plot development and characterisation, the laughs only come when the proper work of narrative has been done. Despite good actors, reasonable special effects and a reasonable budget it simply fails because the basics are overlooked. it is simply a sketch show with no structure. I watch it for the instruction it gives in getting it right. Is BBC Manchester just full of yes men/women who have no desire to create and think Hyperdrive is worth the money spent on it?
Director: Ben Wheatley
Cast: Lily James, Jacques Bouanich, Marie Collins, Ann Dowd, Kristin Scott Thomas, Armie Hammer, Jean Dell, Sophie Payan, Pippa Winslow, Lucy Russell, Bruno Paviot, Stefo Linard, Tom Hudson, Jeff Rawle, Ashleigh Reynolds

Projectfreetv Unhinged
Pece Dingo's MIDNIGHT CABARET reveals it's hand early when the fragrant, shaggable damsel at the focus of it's "story" (Lara Harrington, looking fresh), a struggling actress named Tanya, finds herself thrust into a nightmare vision where she is pursued through a Gothic, fashionable Los Angeles by a straight edge razor wielding vampire whom she had witnessed feeding off another hunk in a downright sexual manner. He is stark naked, with plenty of rump shots as he scuttles up various staircases in pursuit of her nightie-clad, rain dampened body. Either the film is gay, or it's for the ladies, which turns out to be the case by the second reel when we get to see her apartment. It isn't a living space for a struggling actress, it's a stylistic flourish dream pad that Mies Van Der Rohe would have had trouble paying the rent on.

The premise for the film is actually interesting: A super high-class nightclub/cabaret type of hotspot staging neo-Grand Guginol type performances which blur the line between reality and dreams. Are the performances for real or imaginary? The answer seems to be yes, they are both. Everyone has perfect clothes, perfect hair, plenty of cigarettes, and behave as though they were in a Duran Duran music video. Which makes sense given the presence of lead actor Michael Des Barres, who fronted a Duran Duran spin off band during the 1980s. He glowers under his highly stylized hairdo, rasping in a mid Atlantic half-British accent while intoning the Prince of Darkness, ironically clad in a perfect white suit. His stage MC evokes a pre-heroin Boy George, and everyone in the cast is apparently on the verge sleeping together in the most casual of ways.

Slowly the dream imagery of the stage plays begins to spill over into Tanya's fashionable life as she finds herself plagued by aspiring rapists or hunky suitors who seem more interested in how they are being lit than actually getting away with anything. Even the film's would-be heroic cop, trying to get to the bottom of things after some untimely deaths, swaggers through the frame in a $1500 knee length designer jacket while wafting cigarette smoke through the diffused lighting. Is he a real person or a functionary of her dream? The film seems more interested in making us wonder if he'd be a good kisser more than how he pays for his wardrobe. The fact that he never bothers to read the lass her rights even when interrogating her over the coincidental murders of everyone close to her suggest that he's either inept or simply hot for a date.

The film gets one thing right which is putting the viewer into a state of confusion over whether what we are watching is supposed to be part of the nightclub act or reality, no easy feat since Ms. Harrington spends an awful lot of time running blindly down empty city blocks while always managing to look freshly showered. The story becomes secondary to the imagery, which has more in common with a Nagel print than it does a standard horror movie, with the complete absence of exploitational female nudity eventually giving the film's agenda away, which is to be respectable at all costs. Even when the characters are having sex the film manages to avoid being sleazy or voyeuristic. Here at last is a horror movie for couples, where all the guys are sensitive minded beefcake and all of the women are resourceful, quick witted, and have fantastic apartments. Nobody seems to have a job or need money, people speak in hushed stage whispers or listen in turn attentively, and hot chicks don't mind having 2nd hand smoke blown in their faces because the smokers all look so great.

In other words I'm not the person to be reviewing this film. It's poised, dramatic sensibilities are wasted on me and will find their most appreciating audiences in fashion minded females in their mid 30s who still go nightclubbing & are nostalgic for the 1990s. Guys watching this will feel under-dressed and somewhat at a loss for what to say, other than perhaps asking "So when do we get to see her tits?" You never do, but afterward you might just find yourself in the mood for a cup of International House French Vanilla coffee. And a cigarette.

4/10
Director: Derrick Borte
Cast: Russell Crowe, Caren Pistorius, Jimmi Simpson, Gabriel Bateman, Anne Leighton, Lucy Faust, Austin P. McKenzie, Michael Papajohn, Sylvia Grace Crim, Stephen Louis Grush, Brett Smrz, Juliene Joyner, Devyn A. Tyler, Gregory Hobson, Michael Randall

Projectfreetv The Kid Detective
This movie is an excellent example to show the effects of having the main actor and producer combined in one single person: It is egocentric and this focus on the main character which leaves no room for the rest makes it boring. JLH tries to be the sweet, cute, understanding lover and passionate strong artist at the same time. The plot seems nothing but to be constructed around this, all dialogues appear artificial, romantic is misleadingly exaggerated. In Fact - it's more like an extended music video than a movie. Yes, JLH has got a beautiful voice - but that's it: Nothing more! And that's not enough for a feature-length movie...
Director: Evan Morgan
Cast: Adam Brody, Sophie Nélisse, Sarah Sutherland, Jesse Noah Gruman, Wendy Crewson, Jonathan Whittaker, Peter MacNeill, Lisa Truong, Sophia Webster, Dallas Edwards, Tzi Ma, Isaac Kragten, Amalia Williamson, Sharon Crandall, Marlaina Andre

Projectfreetv The Trial of the Chicago 7
The main character of "Visions" wakes up in a mental hospital after a car accident.He's doesn't remember his past.He is an amnesiac,who wants to learn more about his life.With the help of his friend he finds in the archive of Dr.Leeman's some hidden files and videotapes of an unsolved crime case.The serial killer nicknamed The Spider is still on the loose.The visions of Matt are becoming more and more nightmarish.Deadly dull and suspenseless psychological thriller obviously inspired by "Saw" series.I don't see any connection with 70's and 80's Italian gialli.The editing is epileptic and the acting is pretty weak.The climax is extremely anti-climatic.Watch Austrian "Angst" if you want a proper serial killer movie.3 out of 10.
Director: Aaron Sorkin
Cast: Eddie Redmayne, Alex Sharp, Sacha Baron Cohen, Jeremy Strong, John Carroll Lynch, Yahya Abdul-Mateen II, Mark Rylance, Joseph Gordon-Levitt, Ben Shenkman, J.C. MacKenzie, Frank Langella, Danny Flaherty, Noah Robbins, John Doman, Kelvin Harrison Jr.

Projectfreetv The Mortuary Collection
On the surface, "Women In Trouble", the fifth film from Sebastian Guitterez ("Rise"; co-wrote "Snakes On A Plane") looks like your typical sex comedy, packed with attractive, well-endowed dames. It does have the dames, but they-and the film-are surprisingly three-dimensional and quaint, making the film a must-see.

Circumstances, wacky and serious, locks the film's vignettes, featuring different women, all Los Angeles residents: infamous porn actress Electra Luxx (the impressive Carla Gugino of "Watchmen", "Faster", Sin City", "Sucker Punch" and other films directed by Mr. Guitterez, her longtime boyfriend) learns she's pregnant; her ditzy co-worker Holly Rocket (Adrianne Palicki of "Friday Night Lights: The Series") gets in trouble with gangsters during a "pro gig" with pal Bambi (Emmauelle Chirqui of "You Don't Mess With The Zohan").

Meanwhile, therapist Maxine (Sarah Clarke of "24") gets drunk when she learns her husband (Emmy nominee Simon Baker of "The Mentalist") is having an affair with a patient's mother (Caitlin Keats) from the patient herself, old soul goth gal Charlotte (Mr. Guitterez's niece, Isabella) and flight stewardess Cora (Marley Shelton of "Grindhouse" and "Scream 4") has a Mile High Club fling with rocker Nick Chapel (Oscar nominee Josh Brolin of "Milk") ends gallows funny.

If you're expecting full frontal nudity, forget it, but that doesn't mean "Women In Trouble" is a waste of time. Imagine the sexiness of a soft-core porn film on Cinemax, the female angst from a Lifetime movie and the profane/profound humor of a Kevin Smith film and you have this underdog gem.

With a fun script and tight direction, Guitterez treats his cast pretty well and, while in their roles, they shine in their ups and downs. Also included in the mix are Connie Britton (also of "FNL") as Charlotte's "aunt" who has a dark secret; Rya Kihlstedt as a shotgun-totting, lesbian barkeep; Cameron Richardson as the barkeep's masseuse roommate from Canada and Garcelle Beauvais-Nilon ("The Jamie Foxx Show") as Cora's pal. There's also a Q&A session, post-end credits scroll, involving Electra and Holly with an over-eager Internet reporter (Joseph Gordon-Levitt of "Brick" and "Inception") that starts out a bit weak but ends funny. Ms. Shelton's sister, Samantha, belts out a sweet tune in a bar.

Pretty girls have problems too, and "Women In Trouble" proves that with a thoughtful chuckle.
Director: Ryan Spindell
Cast: Clancy Brown, Caitlin Custer, Christine Kilmer, Jacob Elordi, Ema Horvath, Jennifer Irwin, James Bachman, Barak Hardley, Sarah Hay, Ben Hethcoat, Mike C. Nelson, Brennan Murray, Michael Bow, Tom Woodruff Jr., Bradley Bundlie

Projectfreetv Kajillionaire
It's not common to see such a close combination of innocence with sharp satire, but that's how one would have to describe this film. On the one hand, it is a cheerful and likable film about children and their eternal struggle against the grown-ups, but on the other that means it's also essentially a feature-length ode to sticking it to the man.

It seems that perhaps because it is a story about children, there is almost no need to disguise the satire, and it's simultaneously the more pointed and the more innocent for being so out in the open. Inochkin is expelled from camp for swimming to the island in the lake, and decides to stay and hide out instead of going home. The support for him among his follow camps becomes like a popular uprising, and the movement for Inochkin becomes like the white whale to the Ahab of the camp's director Dynin.

And while it tears into the arbitrariness of authority, it's also quite entertaining with a slapstick sensibility to its gags and chases that also helps its parody elements to go down acceptably. There's a feeling of delightful chaos to all the proceedings which is authentically childlike -- from a title poking fun at the hypocrisy of the signs on the fronts of the camp to the admonishment of the fourth wall at the end. And the end -- with people magically flying across the river to the island -- is a bit surreal, but is like a tacit encouragement to break the rules, even of the method necessarily doesn't seem reasonably possible.
Director: Miranda July
Cast: Evan Rachel Wood, Mark Ivanir, Gina Rodriguez, Debra Winger, Richard Jenkins, Adam Bartley, Patricia Belcher, Diana Maria Riva, Madeleine Coghlan, Da'Vine Joy Randolph, Rachel Redleaf, Challen Cates, Steve Park, David Ury, Betsy Baker

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**SPOILERS** Very uneven in parts but still unique and interesting movie about involuntary organ donations on the part of some very disturbed persons. Who feel that their the modern versions of Robin Hood, taking from the healthy and giving to the sickly.

Movie stuntman Billy Castal, Jeff Wincott, is out with his friends at the local bar looking to have a good time. Seeing this knock-out of a woman Angel, Christna Cox, Billy makes a play for her, after he floored a patron who tried to violently grab her. Like magic she takes him up to her hotel-room gives the somewhat startled young man a drink and all at once Billy passes out cold.

Awakening from his sleep Billy finds out to his shock that hes been surgically opened up with his right kidney removed! At the hospital the doctor Lucy Flynn, Machelle Johnson, treating Billy says that whoever did the operation on him know what he, or she, was doing. it's was also found out that whoever did this outrage wore contacts, a lens was found stuck under Billy's stitches, and worked in a prison since the stitches that sew Billy up are only used by doctors in state penitentiaries.

The film has a lot of false suspects to who actually did this hatched job on Billy which stretches it's plot really thin and makes Billy into an almost paranoid schizophrenic. Billy attacks anyone he as much as suspects was responsible for his unwanted and illegal operation. Whoever did in Billy later does the same thing to former collage basketball player Daryl Chambers, Falconer Abraham. Daryl being picked up at a bar by Sue,Ellen Dublin, who like Angle worked for the criminal organ donor outfit, gets him knocked out, with a glass of spiked champaign, in her motel room. Sue has a surgeon and staff wheel in an operating unite and do a job on Daryl by removing one of Daryl's pink and healthy kidneys. Unlike Billy Daryl has a very weak heart and never survived the operation.

Billy tracks down one of the people that operated on him at the lab that handled a blood test he, like Daryl, took nurse Talia Green,Karen Waddell. Talia takes off like a house on fire at just the sight of Billy. Going to Talia's home Billy finds that she's dead from a drug overdose that's later determined by the police to have been forced on her.

It now becomes obvious that whoever's responsible for Daryl's and Talia's murder and Billy's stolen kidney is working at the local hospital and that's where things start to really get mixed up. Billy, get involved in some crazy and mind-boggling shell game as to who in the hospital is responsible for these outrageous crimes that end with Billy, now at gunpoint, having the killer demand that he donate his second kidney! The kidney is for some bright and deserving 16 year-old Mexican boy who desperately needs it!

All right for a straight to video movie "The Donor" does get a little carried away with itself by just trying to be too slick in trying to keep it's audience guessing to who the killer/operator is. Making everyone in it, with the exception of victims Billy & Daryl, suspects that takes a lot away from the real villain when you finally get to realize just who he, or she, really is.
Director: Alessio Liguori
Cast: Zak Sutcliffe, Molly Dew, Jack Kane, Sophie Jane Oliver, Andrei Claude, Zander Emlano, Terence Anderson, David Keyes, Matteo De Gregori, Raffaele Buranelli, Teo Achille Caprio, Mino Caprio, Emma Giua