From main page: Google Translation: BROADCITY.IN OUR WEBSITE IS UNDER CONSTRUCTION. 01 DAY 22 HOURS THANK YOU FOR YOUR ATTENTION!

Christopher Nolan's movie is the first Hollywood tentpole to hit the big-screem since the COVID-10 pandemic struck. In a major win for the moviegoing experience in the COVID-19 era, Christopher Nolan's Tenet grossed a better-than-expected $53 million-plus as it debuted internationally in 41 markets, including Canada. Among the grosses reported by Warner Bros., the U.K. led with $7.1 million in the U.K., not that far behind Nolan's Inception and Interstellar. France turned in $5.7 million, followed by Germany with $4.2 million. Warner Bros. didn't provide other territory grosses, but said that 32 markets in Europe, Middle East and African region accounted for $37 million of the weekend's grosses despite reduced capacity. Directed by Christopher Nolan, the $200 million espionage epic is the first Hollywood tentpole to brave the big screen since cinemas reopened after a prolonged shutdown due to the devastating pandemic. It begins playing previews in the U.S. on Aug. 31 before officially opening where it can on Sept. 3 (the country's two largest moviegoing markets, Los Angeles and New York City remain off-limits). Nolan is a champion of the theatrical experience, and in tandem with studio Warner Bros., has remained determined to keep Tenet on the calendar, versus pushing the film to a later date or sending it to premium VOD or streaming. "We are off to a fantastic start internationally and couldn’t be more pleased,” said Toby Emmerich, Warner Bros. Pictures Group chairman. “Christopher Nolan has once again delivered an event worthy motion picture that demands to be seen on the big screen, and we are thrilled that audiences across the globe are getting the opportunity to see Tenet." Tenet did big business in Imax theaters, or $5 million from 248 screens in 38 markets, which compares favorably to Nolan's Dunkirk and Interstellar. The large-format exhibit is reporting a screen average of $20,000-plus for Tenet, despite capacity restrictions. Imax is also reporting sold-out shows across the globe, including in London, Toronto, South Korea and Thailans. Theater circuits across the world have largely pegged their reopenings to Tenet, starring John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Michael Caine and Kenneth Branagh. "Thank you to our exhibition partners for their tireless efforts in reopening their cinemas in a safe and socially-distanced way. Given the unprecedented circumstances of this global release we know we’re running a marathon, not a sprint, and look forward to long playability for this film globally for many weeks to come," Emmerich continued. Tenet rolls out Sept. 4 in China, where the box office has rebounded in a major way. In less than two weeks, the Chinese tentpole The Eight Hundred has collected well north of $200 million. It is the first Asian movie filmed entirely with Imax cameras. Nolan's film saw its release date pushed several times after originally being set for a mid-July opening. Ultimately, Warners and Nolan decided on a late August-early September release despite the fact that Los Angeles and New York remain dark.

The actor-director noted that Paulie’s robot, a very bizarre '80s gimmick, will be cut entirely. If he cuts, he cuts. Sylvester Stallone on Sunday announced that he is in the midst of working on a director's cut of Rocky IV for the classic's upcoming anniversary, which is Nov. 27. "For the 35th anniversary, Rocky 4 Is getting a new director's cut by me. So far it looks great. Soulful. Thank you MGM For this opportunity to entertain," the actor said along with an impressive drawing of the film. He also noted that Paulie’s robot, a very bizarre '80s gimmick, will be cut from the movie entirely. "The robot is going to the junkyard forever, no more robot," Stallone replied to one commenter. The 1985 film was a massive success and introduced audiences to Dolph Lundgren, who played the towering Ivan Drago, the Soviets' prize boxer. The film marked Carl Weathers' final physical appearance in the series. Stallone did not offer any additional details, but the tease was enough to set social media ablaze and resulted in Rocky IV trending.

The social media company announced the news on Saturday, while also announcing the return of the Black Panther emoji. The final tweet posted to Chadwick Boseman's Twitter account sharing the news of his passing is now the most liked tweet of all time. The social media company announced the historic news on Saturday afternoon, sharing on their official account: "Most liked tweet ever. A tribute fit for a King. #WakandaForever." "Fans are coming together on Twitter to celebrate the life of Chadwick Boseman, and the Tweet sent from his account last night is now the most Liked Tweet of all time on Twitter," the company said in a statement. "Fans are also working to organize Black Panther Twitter watch parties using #BlackPanther and #WakandaForever, so Twitter has turned the original #BlackPanther emoji back on so fans can watch and talk about his legacy together." Boseman died Friday at his home in Los Angeles, surrounded by his wife and other family members, at the age of 43 after a four-year struggle with colon cancer. The final tweet from the Black Panther star's account detailed Boseman's cancer diagnosis and a statement from the actor's family. “A true fighter, Chadwick persevered through it all and brought you many of the films you have come to love so much,” the statement read. “From Marshall to Da 5 Bloods, August Wilson’s Ma Rainey’s Black Bottom and several more — all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in Black Panther.”

Nicolas Cage will play a dragon in his next TV project. The actor will star in and executive produce a drama in development at Amazon based on Artemis Fowl author Eoin Colfer's novel Highfire. The lead character, which Cage will voice, is a vodka-swilling, TV-loving dragon who lives in seclusion in the Louisiana bayou. Davey Holmes (Epix's Get Shorty, Shameless) is adapting the novel and will executive produce. The project comes from MGM/UA Television. Published in January, Highfire is set in a world where dragons once ruled the earth, and Lord Highfire ruled the dragons. Now, however, all Highfire rules is his shack in Honey Island Swamp. He now goes by "Vern" and spends his days hiding out among the alligators, watching cable TV and drinking obscene amounts of vodka. Vern is prepared to do whatever it takes, even if that means violence, to protect his own hide. Vern's world soon collides with that of Squib, a teenager mixed up in running booze for the local mob, and their mutual struggle for survival becomes entangled in a most unlikely friendship. Cage and Holmes executive produce with Andrew Mittman of 1.21, who has an exclusive production deal at MGM/UA Television. Highfire is the second TV project Cage has signed on to recently. He's also set to play Tiger King subject Joe Exotic in a scripted series from CBS Television Studios and Imagine Television. His recent film credits include Primal, Grand Isle and Spider-Man: Into the Spider-Verse.

Fox is looking to reopen The X-Files — in animated form. The network is developing a comedic, animated take on the beloved series that will focus on a new set of characters — a B-team of agents working in Albuquerque, New Mexico. The potential series is called The X-Files: Albuquerque and centers on an office of misfit agents who investigate cases too wacky, ridiculous or dopey for Scully and Mulder. The concept is similar to that of CBS All Access' Star Trek: Lower Decks, which focuses on low-level Federation workers. Fox has ordered a script and presentation for the project. Disney's 20th Television, which produced the original series and its two-season revival, and Fox-owned animation studio Bento Box Entertainment (Bob's Burgers) are producing. Rocky Russo and Jeremy Sosenko (Paradise PD, Brickleberry) are writing and executive producing. X-Files creator Chris Carter will also exec produce via his Ten Thirteen Productions, along with series veteran Gabe Rotter. Fox has made a concerted push to develop new animated properties in the past couple of years to join long-running staples The Simpsons, Family Guy and Bob's Burgers. Bless the Harts and Duncanville are set to begin their second seasons in 2020-21, and the network has also given newcomers The Great North — which has already been renewed for a second season — and Housebroken on deck. Both shows are animated by Bento Box. Fox also made a direct broadcast deal with Rick and Morty co-creator Dan Harmon that includes a series commitment for an animated show. The X-Files has been animated once before on Fox — in a manner of speaking. Gillian Anderson and David Duchovny played Dana Scully and Fox Mulder on a 1997 episode of The Simpsons called "The Springfield Files."

Ben Platt, Kaitlyn Dever and Amandla Stenberg are already on the roll call. Amy Adams has joined the cast of Dear Evan Hansen, Universal’s adaptation of the Broadway musical. Stephen Chbosky (Wonder) is directing the feature which has a script by Steven Levenson, who wrote the book for the stage musical. Music and lyrics are by Academy Award-winning duo Benj Pasek and Justin Paul, who also worked on La La Land and The Greatest Showman. Ben Platt, who originated the role and even won a Tony for it, is reprising the character of Evan Hansen, a socially awkward teen who gets caught up in a lie when he says he was best friends with a schoolmate who commits suicide. The act initially brings him closer to a crush and brings him attention but he must face repercussions when the truth surfaces. Kaitlyn Dever is playing Zoe, the crush, while Amandla Stenberg has nabbed a part that expands upon the original stage role. Colton Ryan will play Connor, the teen who dies. Nik Dodani is also on the roll call. Adams will play Cynthia Murphy, the mother of Dever and Ryan’s characters. The character kicks off the musical with a duet with Hansen’s mother’s with the song Anybody Have a Map? Marc Platt, who produced La La Land, and Adam Siegel will produce for their Universal-based Marc Platt Productions. Universal’s senior vp of production Sara Scott and director of development Lexi Barta are oversee production on behalf of the studio. Adams has sung for her supper in several movies, Disney’s Enchanted and The Muppets, among them. The six-time Oscar nominee next stars in Netflix drama Hillbilly Elegy and the thriller The Woman in the Window.

Boseman died at his home in the Los Angeles area with his wife and family by his side, his publicist Nicki Fioravante told The Associated Press. Chadwick Boseman, the electric young star who projected so much vitality as the star of such films as Black Panther, Get on Up and 42, died Friday. He was 43. Boseman died at his home in the Los Angeles area with his wife and family by his side, his publicist Nicki Fioravante told The Associated Press. Boseman was diagnosed with colon cancer four years ago, his family said in a statement. He had never spoken publicly about his diagnosis. “A true fighter, Chadwick persevered through it all and brought you many of the films you have come to love so much,” his family said in the statement. “From Marshall to Da 5 Bloods, August Wilson’s Ma Rainey’s Black Bottom and several more — all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in Black Panther.”' His death comes amid the nation’s emotional reckoning with racial justice and on baseball’s Jackie Robinson Day, in which every player in the big leagues wears No. 42. He portrayed the legendary Brooklyn Dodger in the Brian Helgeland-directed drama 42.

Four years ago, AMC became North America's largest cinema circuit with a $1.2 billion deal to acquire U.S. rival Carmike. To win regulatory approval, the merged company agreed to divest theaters in 15 markets. Now, as COVID-19 ravages the exhibition industry, AMC is taking steps to again own what it previously was forced to sell off. Ten theaters, operating in nine states, are the subject of an unusual motion in D.C. federal court in an antitrust case that has been asleep for more than three years. Those theaters were being run by New Visions Cinema LLC, which was set up by a private equity firm in 2017 to take on theaters that AMC/Carmike had to divest to satisfy competition regulators and complete the mega-deal. But now, New Vision has commenced liquidation proceedings in Georgia state court, and landlords are in the midst of terminating leases for the movie houses. AMC, which has been the subject of bankruptcy and acquisition rumors for months, is instead primed to grow larger. The company, whose major shareholder continues to be Chinese conglomerate Dalian Wanda Group, is asking for permission to modify final judgment in the government's antitrust suit so as to be able to reacquire these theaters with the government's approval. "The degree of economic hardship currently being experienced by AMC, New Vision, and the entire theatre exhibition industry is a unique changed circumstance that could not have been anticipated at the time the Final Judgment was entered," states the motion, which briefly argues that allowing AMC to negotiate leases and operate theaters is in the public interest. AMC's motion is unopposed, which basically signals that the Department of Justice is on board this plan. It's perhaps evidence of how the ongoing health crisis will mean the toleration of more consolidation.

Google Translation: The settings page has changed Good morning, an improvement was made on the settings page. No new options have been added to it yet, but its look has been modified so that the configuration options that already existed are now distributed in tabs. There is still no minimalistic look for the settings page, but this, as well as other configuration options (email for example), will be implemented soon, wait. The background image (obtained from the internet) that was on the settings page has been removed, whoever wants to keep it as a souvenir, just download it through the link below: Background image used in the settings page.

The sci-fi series starred Anthony Mackie in its second season. Altered Carbon won't get another new sleeve. Netflix has canceled the sci-fi series after two seasons. News of the show's end comes six months after the second season debuted on Feb. 27, although the decision was made quietly during the spring. The cancellation came down to the streamer's usual viewership vs. cost analysis and wasn't influenced by the coronavirus pandemic — unlike the cancellations of YA shows The Society and I Am Not Okay With This, which Netflix said were due to circumstances created by the pandemic. Created by Laeta Kalogridis, Altered Carbon (based on a novel by Richard K. Morgan) is set in a future where human consciousness can be transferred to a new body. It centers on a character named Takeshi Kovacs, the sole surviving member of a vanquished rebel group. Joel Kinnaman played Takeshi in the first season, with Anthony Mackie taking over the role in season two. The season two cast also includes Renee Elise Goldsberry, Lela Loren, Chris Conner, Simone Missick, Dina Shihabi and Torben Liebrecht. Skydance Television produces the series. Alison Schapker served as showrunner on the second season. Altered Carbon becomes the latest Netflix series to be canceled after a relatively short run. Along with The Society and I Am Not Okay With This, recent cancellations after one or two seasons at the streamer include Astronomy Club: The Sketch Show, Tuca and Bertie (although it was revived at Adult Swim), Turn Up Charlie, AJ and the Queen, Messiah, Spinning Out and Soundtrack, among others.

Charly Clive stars as young woman with intrusive sexual thoughts in HBO Max's latest British import. At the surprise party she planned for her parents’ anniversary, 24-year-old Marnie (Charly Clive) begins a toast that’s quickly derailed by her obsessive and overwhelming thoughts about sex. To her horror, Marnie imagines the festivities turning into an orgy, with naked guests kissing whomever’s next to them, her dad going down on her best friend Helen (Olive Gray), even herself making out with her own mom. Her mental images are disturbing enough for Marnie to catch the first bus out of her small Scottish town and start over in London, where she hopes to chase a vague dream of turning her English degree into a writing career — and to make sense of the flood of sexual scenarios that she’s drowning in every day. The latest in HBO Max’s burgeoning selection of British imports, the six-part half-hour comedy Pure, which aired on the UK’s Channel 4 early last year, is notable for its rare and compassionate depiction of a young woman struggling with the triple challenge of a mental illness (obsessive-compulsive disorder), its social stigma and accepting the probability that she’ll never be completely cured of it. But the series, despite taking its name from Rose Cartwright’s memoir, is also a disappointingly formulaic stumble through youthful London, stuffed with bad sex, awkward flirtations, professional humiliations and fights with friends that feel more ripped from other TV shows than real life. If you’ve never experienced intrusive thoughts, Marnie’s challenges may not feel relatable (as they largely weren’t for me). “Have you ever had one of those weird, distressing thoughts where you’re just like, ‘Fuck! Where did that come from?’” she asks in the series’ direct-to-camera opening address. For many of us, the answer is probably something we figured out during adolescence, along the lines of, "Sure, but your brain produces random thoughts a lot of the time, and your thoughts matter a lot less than how you choose to act on them." Marnie explains that her disorder makes it harder to dismiss outlandish thoughts as mere mental detritus, which in turn confuses her about what are her actual feelings and opinions and what are just psychological flotsam taking up space in her brain. To dramatize this dilemma, series writer Kirstie Swain has Marnie pick up Amber (Niamh Algar), a writer at a publication she admires, in a lesbian bar shortly after moving to London. But when they get back to Amber’s place and the pants come off, Marnie realizes that her intense sexual fantasies about the writer don’t actually reflect an inner desire to sleep with her, leaving Marnie confused about what she really wants, and Amber angry and rejected. But Pure is a better illustration of OCD and its debilitating effects than it is a portrait of a young woman who has it, even with a fantastically versatile turn by Clive. Marnie’s attempts to discover who she is outside of her illness — her thoughts visualized as second-long close-ups of various body parts — don’t reveal much of a personality beyond “definitely straight” and “the normal amount of oblivious selfishness for a recent college grad.” And other than Charlie (Joe Cole), an unexpectedly soulful porn addict she meets at a support group for sexually compulsive people, none of the demographically diverse 20-somethings that Marnie befriends in the city — queer Amber, Marnie’s handsome but cipher-like Black love interest (Anthony Welsh) and her annoyingly wholesome Desi-Scottish roommate (Kiran Sonia Sawar) — get much dimension, either. The one episode that doesn't feel like it was based on a script template is the fifth one, when Marnie’s progress thus far at managing her condition is undone by a visit from Helen. Marnie confides in her lifelong friend about her unwanted tendency to sexualize everyone and everything around her, and when some alcohol at a party exposes the sudden but highly believable fissures between the two women, Helen weaponizes Marnie’s anxieties against her in the only plotline that feels truly laden with emotional weight. And then it’s back to the status quo of explaining symptoms and raising barely-there stakes, as Marnie ponders the same question about her new life as we do about this well-meaning but by-the-numbers series: Why isn’t this more fun? Cast: Charly Clive, Joe Cole, Kiran Sonia Sawar, Niamh Algar, Anthony Welsh Premieres Thursday, Aug. 27, on HBO Max

'The Fault in Our Stars’ director Josh Boone takes on this latest Marvel venture, adapted from the comic books originally spun off from the X-Men series. If you’ve never seen a teen movie, a superhero movie, an asylum-set psychological thriller, Nightmare on Elm Street or a single episode of Buffy the Vampire Slayer, then perhaps The New Mutants will be something of an eye-opening experience. But for most of the planet — that is, the portion of the planet able to see this new release from Disney’s 20th Century Studios in a movie theatre — and especially for the film’s likely target audience, Mutants will provide an eye-rolling case of déjà vu. Generic and, at its best, straining to be heartfelt, director Josh Boone’s adaptation of the Marvel spin-off comic series is a Marvel movie spinoff in its own right, making vague references to the X-Men franchise but attempting to stand on its own. Unfortunately it rarely does, even if the film’s trio of young and tough female leads manages to give your typically male-dominated genre something of a feminine twist. Shot in 2017 and subjected to a lengthy post-production period that included plans for reshoots, the sale of studio 20th Century Fox to Disney, several postponed release dates, including one this past April due to the coronavirus pandemic, and a domestic release finally slated for Friday in a country still debating whether going to the movies is safe at all, you can’t say The New Mutants has had an easy run thus far. To further complicate matters, Disney did not provide screening links or a COVID-safe screening room for U.S. critics, some of whom are now refusing to review it. (In my case, I saw the film in a movie theatre in central Paris on the morning the French Prime Minister announced that masks would now be mandatory in cinemas. Most people wore masks at the screening — protective masks and not X-Men masks.) Since it was made three years ago, The New Mutants already feels like it belongs in another, perhaps more innocent, epoch. More specifically, it feels like it was made sometime in the 1980s or '90s and that it was inspired, along with the above sources, by the proto-high-school movie classic The Breakfast Club — that is, if the latter were set in a semi-state-of-the-art asylum where five adolescent mutants from a variety of backgrounds undergo group psychotherapy as they try to master their new powers. Told through the point of view of Dani Moonstar (Blu Hunt), a Native American who survived a traumatic disaster and then wakes up strapped to her bed in a remote psychiatric institution headed by the mysterious Dr. Reyes (Alice Braga), the story follows Dani as she learns she’s not alone in this strange science fair experiment. Her fellow inmates include Illyana Rasputin (Anya Taylor-Joy, The Witch), a Russian with teleportation abilities and a bad attitude; Rahne Sinclair (Maisie Williams, Game of Thrones), a Scottish girl with fierce animal instincts but a good heart; Brazilian pretty-boy Roberto da Costa (Henry Zaga, co-starring in Boone’s new series based on Stephen King’s The Stand), who’s too hot to handle; and Sam Guthrie (Charlie Heaton, Stranger Things), a good ol’ Kentucky boy who talks like he was raised by a jug of moonshine and has the power to project himself at lightning speeds. All these characters hail from the very first The New Mutants graphic novel (created by Chris Claremont and Bob McLeod) published back in 1982, and Boone, along with co-writer Knate Lee, allows us to witness their origin stories as recurring nightmares that happen inside the hospital — nightmares that, like Freddy Krueger, can become real. He also gives us a heavy dose of teen angst, with Braga’s Dr. Reyes reminding us all-too clearly that “mutation most often occurs in puberty.” But more often than not, their angst takes on the bland flavor of an Afterschool Special, or perhaps a Disney movie, including a scene where the gang drugs their doctor to sleep and then throws a dance party with the kind of faceless rock music you hear at The Cheesecake Factory. Much is left unexplained as to why the kids are there and whom exactly Dr. Reyes works for — the characters briefly mention Professor X’s mutant academy — yet there’s something so generic about the setup and situations that the intrigue only carries us so far. Even the handful of twists meant to be vaguely new, such as a same-sex love affair between two of the heroines, wind up feeling familiar, which is perhaps why Boone actually inserts a clip from an episode of Buffy showing the same thing. The movie isn’t even as scary as it could be, a fact that could be explained by the need to maintain a PG-13 rating, but in the end we’re only reminded of recent teen horror ensembles like It that worked much better. A potentially terrifying sequence where the kids are pursued by a horde of fanged monsters is upended by the fact that the monsters are all wearing what can best be described as disco shirts, each of them buttoned halfway to the top. (Are they meant to be Eurotrash-men from hell?) At best, Boone coaxes good performances from his cast, especially the troika of Blu, Taylor-Joy and Williams, who add layers of panache and emotion to their characters while kicking ass at the same time. Per Wikipedia, The New Mutants is meant to be the last entry in the ­X-Men series — one of the film’s producers, Simon Kinberg, directed the rather disastrously received Dark Phoenix, which came out last year — but you could easily see these three young women joining Marvel Studio’s growing gamut of superheroines. It’s just too bad the movie that launched them doesn’t have the same impact. As far as the mutant franchise goes, it never makes its last stand. Production companies: 20th Century Studios, Marvel Entertainment, Kinberg Genre, Sunswept Entertainment, in association with TSG Entertainment Distributor: 20th Century Studios Cast: Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Alice Braga, Blu Hunt, Henry Zaga, Adam Beach, Thomas Kee, Colbi Gannett Director: Josh Boone Screenwriters: Josh Boone, Knate Lee Producers: Simon Kinberg, Karen Rosenfelt, Lauren Shuler Donner Executive producers: Stan Lee, Michele Imperato Stabile Director of photography: Peter Deming Production designer: Molly Hughes Costume designer: Leesa Evans Editors: Robb Sullivan, Matthew Rundell, Andrew Buckland Composer: Mark Snow Casting director: Carolyn Pickman Visual effects supervisor: Olivier Dumont Rated PG-13, 94 minutes

Google Translation: Internal maintenance at the host Hello to all, We inform you that the site will be inaccessible due to internal maintenance at the host on 27/08/2020 between 01:00 and 07:00 (GMT +8) (i.e. from 07:00 to 13:00 CET) - We thank you for your understanding and patience. See you soon on the shout.

Freeleech Pool Tipped! ***** has triggered the Freeleech Pool! The following film(s) have been randomly selected and are now freeleech for the next 48 hours. Here Thanks to users who donated to the pool. Now go drop some of your own orbs into the next pool!

The romantic drama from 'God's Own Country' director Francis Lee also stars Gemma Jones, Alec Secareanu and Fiona Shaw and will premiere at the Toronto film festival before being released by Neon in the U.S. and Lionsgate in the U.K. The first trailer for Neon's Kate Winslet and Saoirse Ronan-led romantic drama, Ammonite, has arrived. In the film, Directed by God's Own Country helmer Francis Lee, loneliness and crashing waves serve as a backdrop to a story of a hesitant friendship that softly and subtly blossoms into an unexpected — and overwhelming — romance. Set on the Southern English coastline of Lyme Regis, this 1840s love story begins with acclaimed paleontologist Mary Anning (Winslet) working in harsh but preferential solitude. Her quiet, somber life is disturbed, however, by the arrival of a young woman named Charlotte (Ronan) and her husband, Roderick Murchison (James McArdle). With his wife stricken by tragedy and suffering from "melancholia," Roderick offers Mary payment to walk with Charlotte along the shores and keep her busy during this leg of their European journey. Despite not being in the market for an apprentice, Mary does need the money, and so she takes Charlotte along as she traverses daily along the overcast shore, engaging in "cheap tourist fodder." From two different social and economic circles, the women find themselves in unwanted company, reluctantly connecting as they carry out the less-than-easy work of hunting and collecting common fossils to sell to wealthy tourists. Yet, it's that very distance and difference between them that eventually force both to reconsider their lives and each other. As quickly trading stolen glances and handholds for deeper physical intimacy comes at a cost, the reality of their social boundaries threatens their passionate romance. "I don't want to go back to the life I had before you," Charlotte professes before Mary replies, "What about my life?" Also starring Gemma Jones, Alec Secareanu and Fiona Shaw, Ammonite is written by Lee and produced by Iain Canning, Emile Sherman, Fodhla Cronin O'Reilly. Ammonite will premiere at the Toronto Film Festival in September and is currently slated to hit theaters on Nov. 13. Watch the trailer below.

Director Yeon Sang-ho returns to familiar territory with an oddly timely sequel to his creative 2016 zombie thriller 'Train to Busan.' Who knew a zombie film could be so prescient? When Train to Busan surprised everyone in 2016 with its simultaneously fresh and familiar spin on the zombie apocalypse, it did so because co-writer and director Yeon Sang-ho splashed blood and guts all over characters we grew invested in, whose tragedies came like a punch to the gut and whose redemption felt earned. It helped that the $100 million grossing Train had a laser focus and could rely on the tension inherent in a confined space; it was a haunted house on rails. A sequel was inevitable, and despite some truly white-knuckle car chases and creative lighting, Peninsula, like many films that jump on the surprise hit bandwagon, proves lightning in a bottle happens only once. Yeon, who broke out for his caustic animations — The King of Pigs, about the legacy of class and violence, and the first part of the zombie “trilogy,” the much darker disenfranchisement allegory Seoul Station — has crafted what could be argued is his first truly mainstream film, and it makes you pine for his edgier, angrier work. With South Korea weathering its pandemic storm better the most, Peninsula scored a healthy, social distancing-influenced $13 million opening in July. It should continue to gain steam as it rolls out in other territories (it’s collected $32 million so far) where niche audiences and genre devotees might be tempted to slink out to see how Yeon followed up his game-changing horror thriller. Hong Kong audiences will likely be charmed by the more halcyon images of the city unmarred by scorch marks and infection, and by characters who actually speak Cantonese. Peninsula picks up four years after the events of Train, with our new hero, soldier Jung-seok (Gang Dong-won, Kim Ji-woon’s Illang: The Wolf Brigade), coldly abandoning a family of survivors on a deserted, woodsy road (in a move that never truly comes back to bite him) as he races to the port with his sister, her husband and their son. We get the requisite TV news/talk show exposition to fill us in on what happened in the interim: The South Korean government lost control of the virus, the Hong Kong-bound ship Jung-seok was on turned out to have infected passengers on board, Jung-seok’s sister and nephew die, and just like that Korea is effectively quarantined from the rest of the world. The refugees are pariahs wherever they go. Up to this point, there’s nothing particularly innovative or compelling about Peninsula, though the fraught race to freedom and the simmering feeling that something is about to take a catastrophic turn is nicely, if predictably, handled. Yeon is good in tight spaces, and if Peninsula had been stranded aboard a super-ferry that might have worked just fine. Nonetheless, like the earlier film it sets up its premise (or seems to) and so far, so expositional. The action heads back to zombie-torn Korea when Jung-seok, now an unwelcome virus refugee in Hong Kong, agrees to help his brother-in-law Chul-min (Kim Do-yoon, The Wailing) and a couple of other castoffs sneak back into the country and steal a truck loaded up with U.S. greenbacks, which they’ll split with a gang of unscrupulous Hong Kong gangsters. Once there, Jung-seok and Chul-min are separated by movie-mandated stupidity: The former is saved from the hordes by Min-jung (Lee Jung-hyun, Battleship Island) and her undead-hardened children, the latter falls in with Unit 631, a lawless community led with military harshness by Hwang (Kim Min-jae) and, marginally, Seo (Koo Gyo-hwan), who might be mad. Unit 631 also keeps itself amused with gladiatorial combat. You can guess what substitutes for lions. The end result of this mash-up is a zombie heist/rescue adventure with a detour to Thunderdome — Aunty Entity sadly not included. Peninsula suffers the same type of sequelitis that suggests a second entry must be more/bigger/louder than its predecessor. Where Train to Busan’s two hours were impeccably paced and every frame meticulously used, Peninsula spins its wheels in between its admittedly impressive key set pieces. The devastated Incheon area is eerie in its calm (until someone leans on a car horn), the derelict shipping containers always feel threatening, and the otherworldly light and long shadows cast by orange flares on the final dash to safety is a gorgeous complement to the chase, making the city seem haunted even as it teems with “life.” The truck heist is well staged, but entirely unnecessary, a symptom of Yeon and co-writer Ryu Jong-jae too often falling back on tropes so deftly sidestepped in the first film. Apart from the increased use of CGI, the biggest digression from the first film is in the lack of rounded characters that gave the story its emotional heft and actors something to work with. Jung-seok is moody, but an ace shot. Seo becomes a different person when faced with millions of dollars and a chance at escape. Min-jung is self-sacrificing and forgiving, because children. The B and C stories here don’t efficiently serve the A story the way they did the first time around; they feel more like diffuse filler that gives the film an aimless quality it shouldn’t have, with a big emotional finale that feels forced. Tech specs are as clean and polished as would be expected from a Korean film, though the sound mix seemed to toggle back and forth between ear-splitting and normal too frequently. Production company: Redpeter Films US distributor: Well Go USA Cast: Gang Dong-won, Lee Jung-hyun, Lee Re, Kwon Hae-hyo, Kim Min-jae, Koo Kyo-hwan, Kim Do-yoon, Lee Re, Lee Ye-won Director: Yeon Sang-ho Screenwriter: Ryu Yong-jae, Yeon Sang-ho Producer: Lee Dong-ha Executive producer: Kim Woo-taek Director of photography: Lee Hyung-deok Production designer: Lee Mo-kwon Costume designer: Jo Sang-kyung Editor: Yang Jin-mo Music: Mowg World sales: Contents Panda In Korean No rating, 116 minutes

Bruce Willis and Jesse Metcalfe star in this thriller about a team of mercenaries battling a madman bent on mass destruction. You'd think that by now Bruce Willis would be tired of saving the world. The veteran actor, who seems to have settled on making listless appearances in forgettable B-movie action movies as a retirement funding plan, co-stars in this would-be thriller, marking his third low-budget collaboration with director Matt Eskandari (the others being Survive the Night and Trauma Center) in two years. The production notes inform us that the unimaginatively titled Hard Kill was filmed in a mere ten days, making you wonder how they spent eight of them. Willis plays Donovan Chalmers (at least his character's name has some flair), a mysterious billionaire who seeks out ex-Special Forces operative turned mercenary Derek Miller (Jesse Metcalfe, Desperate Housewives) for protection while visiting an abandoned factory. Miller assembles his team, including Sasha (Natalie Eva Marie, of the WWE reality series Total Divas), Harrison (Jon Galanis) and Dash (Swen Temmel), assuring them of a generous payday for an assignment he promises will be "strictly VIP protection." Needless to say, that turns out not to be the case, as Miller and his group are soon ambushed by a well-armed gang led by an international terrorist dubbed "The Pardoner" (Sergio Rizzutto, letting his beard do the menacing for him). It turns out that the quixotically named criminal, with whom Miller has a past, has kidnapped Chalmers' daughter Eva (Lala Kent). She's apparently developed an artificial intelligence computer program that, depending how it's used, could either make the world a dramatically better place or destroy it. The Pardoner naturally intends the latter, explaining that he's fighting for "a new world order." The invention, referred to as "Project 725," might as well be dubbed "The MacGuffin." Cue the tiresome action movie gun battles and other violent mayhem, staged unimaginatively by director Eskandari despite how much practice he gets. It's occasionally punctuated by such lame dialogue scenes as Chalmers and Eva engaging in a heartfelt father-daughter chat or The Pardoner taking the time to explain the reason for his unusual moniker. During the latter, Willis, as if standing in for the viewer, listens with a bored expression on his face, clearly wishing he was interacting with Alan Rickman's Hans Gruber instead. The Pardoner, by comparison, is such a one-note villain that his chief distinguishing characteristic is his manipulations of a Rubik's Cube — although that's somewhat more arresting than Willis' character-defining wearing of a heavy woolen scarf. Clearly, screenwriters Joe Russo (not the one of Avengers fame) and Chris LaMont didn't feel a need for any heavy lifting. Although Metcalfe certainly boasts the appropriate physicality for his role, he's unable to summon sufficient charisma to make his character remotely interesting. The supporting performances are equally lackluster, although former wrestling star Marie makes for a convincing female badass. Chalmers' right-hand man is played by actor Texas Battle (The Bold and the Beautiful soap opera), who deserves stardom if only for his name that would look great on a theater marquee. As recently as last year's Motherless Brooklyn, Willis has proven that, when he feels like it, he's capable of giving interesting performances. Although no one begrudges him a decent living, it's frustrating that he seems to be settling for such low-rent VOD Steven Seagal/John Travolta-style vehicles at this point in his career. Available On Demand and digital platforms Production: Emmett/Furla/Oasis Films, River Bay Films Distributor: Vertical Entertainment Cast: Jesse Metcalfe, Bruce Willis, Natalie Eva Marie, Lala Kent, Texas Battle, Swen Timmel, Sergio Rizzuto, Tyler Jon Olson, Jon Galanis Director: Matt Eskandari Screenwriters: Joe Russo, Chris LaMont Producers: Alexander Eckert, Randall Emmett, George Furla, Shaun Sanghani, Mark Stewart, Timothy C. Sullivan Executive producers: Lee Broda, Ted Fox, Gus Furla, David Gendron, Richard Goldberg, Tyler Gould, Matthew Helderman, Peter Jarowey, Ali Jazayeri, Joe Listhaus, Habib Paracha, Ceasar Richbow, Luke Taylor Director of photography: Bryan Koss Editor: R. J. Cooper Composer: Rhyan D'Errico Costume designer: Zachary Sheets Rated R, 95 min.

The actor showed up in support of seeing Christopher Nolan's tentpole on the big screen. Tom Cruise may not be in Tenet, but he threw his support behind Christopher Nolan's espionage epic by attending a preview screening of the movie in London on Monday. The actor tweeted about his experience with an accompanying video showing him wearing a black face covering as he arrived at the Odeon BFI Imax. "Big Movie. Big Screen. Loved it," Cruise headlined the post. Tenet, from Warner Bros., is the first Hollywood tentpole to brave a theatrical release since the novel coronavirus shuttered cinemas worldwide in March. The film began previews over the weekend ahead of its official opening Wednesday in a number of overseas markets where theaters have been able to reopen. The film will launch in select U.S. markets over Labor Day weekend despite the fact that indoor movie theaters in Los Angeles and New York aren't yet allowed to flip on the lights. Like Nolan, Cruise has dedicated his career to making big-screen spectacles. Cruise is in London to complete filming on Paramount and Skydance's next Mission: Impossible installment, which suspended production this spring due to COVID-19. He'll next be seen in Top Gun: Maverick, whose release was delayed from this summer to Christmas because of the pandemic (the Top Gun sequel is also from Paramount and Skydance.) Insiders say Warner Bros. accommodated the actor's request to attend a word-of-mouth preview screening of Tenet. The video tweeted by Cruise also shows the masked actor inside the auditorium, where he and other audience members can be heard applauding as the movie begins. "It is great to be back in a movie theater, everybody," Cruise says. As he later exits, one patron asks him what he thought. "I loved it. I loved it," he says. Earlier, on his way to the BFI, Cruise is riding inside an SUV when people on the sidewalk recognize him despite his face mask. "How does that happen?"

New contest Premier League Fantasy Contest 2020/21 Premier League Fantasy Contest 2020/21 * Premier League Fantasy game for the upcumming year. The new season starts Saturday 12 September... * JOIN in now...!!! Discuss this post here

Looking for new Moderators We are looking for new Team-Members! Check out this post to apply.

Site is Back up.

Notice:  PLEASE OBSERVE: ALTHOUGH FREELEECH, THE SEEDTIME STILL APPLIES. SEED FOR MINIMUM 3 DAYS OR YOU WILL GET A HnR WHICH WILL DISABLE YOUR ABILITIES UNTIL SEEDED ENOUGH.

Site is down. The server is not responding.

Google Translation: Support Dear users, Each support reward will be credited 2x plus 48 hours of individual support We will provide freeleech to the sponsor until August 31