Vladimir Putin “We discussed this important issue yesterday over a beer...”
Barack OBAMA “You know, my faith is one that admits some doubt...”
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Whitney Brown, a spoiled pre-teen from Philadelphia, is forced to move to the country when her parents feel the squeeze of economic hard times. A fish out of water, far from her comfort zone, she befriends an amazing horse, and undertakes a misguided journey back to her old life, only to discover that her family is her home.
1944. As the war in Europe continues to take its toll on Allied forces, the Pentagon brass has no recourse but to consider unorthodox options — including the untried and untested African-American pilots of the experimental Tuskegee training program. Just as the young Tuskegee men are on the brink of being shut down and shipped back home, they are given the ultimate chance to show their courage. Against all the odds, with something to prove and everything to lose, these intrepid young airmen take to the skies to fight for their country — and the fate of the free world.
Lightning McQueen (voice of Owen Wilson), a hotshot rookie racecar driven to succeed, discovers that life is about the journey, not the finish line, when he finds himself unexpectedly detoured in the sleepy Route 66 town of Radiator Springs. En route across the country to the big Piston Cup Championship in California to compete against two seasoned pros, McQueen gets to know the town’s offbeat characters – including Sally (a snazzy 2002 Porsche voiced by Bonnie Hunt), Doc Hudson (a 1951 Hudson Hornet with a mysterious past, voiced by Paul Newman), and Mater (a rusty but trusty tow truck voiced by Larry the Cable Guy) – who help him realize that there are more important things than trophies, fame and sponsorship.
Trailer for Pure Country 2: The Gift
In the movie SCHOOL DAZE, Spike Lee staged a dance number in which two bands of African-American college students debated the merits of “Straight and Nappy” hair in song, and now comedian Chris Rock and filmmaker Jeff Stilson have extended the conversation to a full-length film in this witty documentary with serious undertones. Rock says he was inspired to make the film when his young daughter asked him, “Daddy, how come I don’t have good hair?” and he and Stilson examine black America’s obsession with their hair. They visit the Bronner Brothers International Hair Show, an annual trade show for the African-American haircare industry which includes fierce competitions among stylists from around the country and demonstrations of new hair products and techniques. Along the way, Rock also talks to a number of African-American luminaries about their hair issues (including Maya Angelou, Reverend Al Sharpton, Nia Long, Raven Symone, Ice-T, and Paul Mooney), researches the dangers of many common hair-straightening treatments, reveals the surprising expense of regular hair “relaxing” and weaves, and ponders what the pursuit of straight hair says about African-American cultural identity. GOOD HAIR received its world premiere at the 2009 Sundance Film Festival.
John Ford’s memorable screen version of John Steinbeck’s epic novel of the Great Depression–often regarded as the director’s best film–stars Henry Fonda as Tom Joad. After having served a brief prison sentence for manslaughter, Joad arrives at his family’s Oklahoma farm only to find it abandoned. Muley (John Qualen), a neighbor now nearly mad with grief, tells Tom of the drought that has transformed the farmland of Oklahoma into a desert and of the preying land agents who have plowed under the shacks of the sharecroppers. Joined by former hellfire preacher Casy (John Carradine), Tom finds his extended family, including Pa (Charles Grapewin) and his indomitable Ma (Jane Darwell), packing their ramshackle truck to seek work in the fields of California. As the family treks across the country, their dissolution begins with the deaths of Tom’s grandparents at close intervals. When they arrive in California, the Joads find only an abundance of poverty-stricken migrants like themselves and little in the way of potential work. Yet, ever resilient, they maintain their dignity, hoping for the best. Among the talented cast, Fonda does perhaps the best work of his career, as does Qualen in the film’s most haunting sequence. Director of photography Gregg Toland captures the suffering and the weathered, luminous nobility of the Joads and the other uprooted, drifting families, creating striking images equal to the best work of Dorothea Lange and Walker Evans. In a stirring film that stands as a microcosm of the depression experience of millions, Ford gives poverty a human face in a way that was rare then and even rarer in the decades to follow as Hollywood films with a sense of class consciousness dwindled like a species nearing extinction.
John Ford’s memorable screen version of John Steinbeck’s epic novel of the Great Depression–often regarded as the director’s best film–stars Henry Fonda as Tom Joad. After having served a brief prison sentence for manslaughter, Joad arrives at his family’s Oklahoma farm only to find it abandoned. Muley (John Qualen), a neighbor now nearly mad with grief, tells Tom of the drought that has transformed the farmland of Oklahoma into a desert and of the preying land agents who have plowed under the shacks of the sharecroppers. Joined by former hellfire preacher Casy (John Carradine), Tom finds his extended family, including Pa (Charles Grapewin) and his indomitable Ma (Jane Darwell), packing their ramshackle truck to seek work in the fields of California. As the family treks across the country, their dissolution begins with the deaths of Tom’s grandparents at close intervals. When they arrive in California, the Joads find only an abundance of poverty-stricken migrants like themselves and little in the way of potential work. Yet, ever resilient, they maintain their dignity, hoping for the best. Among the talented cast, Fonda does perhaps the best work of his career, as does Qualen in the film’s most haunting sequence. Director of photography Gregg Toland captures the suffering and the weathered, luminous nobility of the Joads and the other uprooted, drifting families, creating striking images equal to the best work of Dorothea Lange and Walker Evans. In a stirring film that stands as a microcosm of the depression experience of millions, Ford gives poverty a human face in a way that was rare then and even rarer in the decades to follow as Hollywood films with a sense of class consciousness dwindled like a species nearing extinction.
Oscar winner Peter Jackson directs this adaptation of Alice Sebold’s beloved novel THE LOVELY BONES. After she is killed, young Susie Salmon (Saoirse Ronan, ATONEMENT) looks down from heaven on both her parents (played by Mark Wahlberg and Rachel Weisz) and her murderer.
C.S. Lewis’ ‘The Lion, the Witch and the Wardrobe’ was first published in 1950 and is the second installment of the writer’s legendary seven-part ‘Chronicles of Narnia’ series. The book tells the story of Peter, Susan, Edmund, and Lucy, who are separated from their parents in London during the German air raids of World War II. They are sent to the country for safety and find a magic wardrobe that transports them to the mystical world of Narnia, a once peaceful land of talking beasts, dwarfs and giants. However, Narnia has been frozen by the evil White Witch, and the kids must help the lion Aslan break her spell.
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