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High quality movies celebrity latest news in 2021? 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.
Fans were thankful for his message, and many couldn’t help but comment on them as a family. “You two are the dream,” one wrote, whilst a second added: “Happy Memorial Day best family.” “Beautiful picture Keith,” a third remarked. Keith’s tribute comes days after he wrote an eloquent summary of his new song Out The Cage – and many of us will relate to the heartfelt meaning. Keith posted last week: “‘Out The Cage’ isn’t about any one specific thing, but ‘confinement’ of every kind, whether it’s real, imagined, at the hands of other forces, or of our own making – the desire and the fight to be released from that is the core spirit of this song. It’s about liberation from all that is imprisoning us.
Streaming services started as an add-on to DVD and digital download offerings with a trickle of second-run movies and TV shows. They were supplements to the programs you watched on their first (and second) runs on cable TV. But speedier internet connections and an abundance of media streaming devices have accelerated the decline of traditional cable. More and more viewers are cutting the cord entirely in favor of dedicated streaming alternatives. Entertainment and tech giants are not blind to the threat, however, and the media landscape is rapidly changing. Consolidation and curation (that is, owning the most media properties and serving the best content) seem to be the overarching goals of the players involved.
If you are a sports lover then you must have heard the name of tennis players Serena Williams. Serena Williams is an American professional tennis player and former world’s no. 1 in women’s singles tennis. She was born on 26 September 1981 in Saginaw, Michigan, United States. Serena Williams’s real name is Serena Jameka Williams and she has nicknames Meka and Momma Smash. Serena Williams had won many awards in her career. Serena Williams has won 23 Grand Slam Singles Titles and many Olympic Gold Medals. People are a fan of Serena Williams Tennis game as well as they like Serena Williams Hot pictures especially Serena Williams Bikini Pictures. Discover extra info on Serena Williams weight. Here in this post we have tried to share all the information about Serena Williams like Serena Williams Age, Body Measurement, Height and Weight, Award, Career, Family and more.
This one didn’t open theatrically, so once upon a time it probably wouldn’t have qualified for this list. But screw it, we live in extraordinary times — and besides, this atmospheric murder thriller set in a small New England fishing village is the kind of artfully mounted, suspenseful little charmer they don’t really make anymore, so it feels extra special. Two cash-strapped sisters, struggling to hold onto their house in the wake of their mom’s death, find themselves in the middle of what appears to be an elaborate, twisted conspiracy involving the town brothel and a gaggle of old-timers with some dark secrets. The central mystery itself is interesting, but the main attractions here are the colorful cast of characters and the compelling sense of place established by writer-directors Bridget Savage Cole and Danielle Krudy.
Hell hath no fury like a religious zealot scorned, as demonstrated by writer/director Rose Glass’ feature debut, which concerns a young hospice nurse named Maud (Morfydd Clark) who comes to believe that her mission from God – with whom she speaks, and feels inside her body – is to save the soul of her terminally ill new patient, famous dancer Amanda (Jennifer Ehle). What begins as a noble attempt to share pious belief and provide comfort for the sick swiftly turns deranged, as Maud is possessed by a mania impervious to reason, and enflamed by both the slights she receives from Amanda and others, and her own mortal failings. The sacred and the profane are knotted up inside this young woman, whom Clark embodies with a scary intensity that’s matched by Glass’ unsettling aesthetics, marked by topsy-turvy imagery and pulsating, crashing soundtrack strings. A horrorshow about the relationship between devoutness and insanity, it’s a nerve-rattling thriller that doubles as a sharp critique, punctuated by an incendiary final edit that won’t soon be forgotten. Discover even more details at bloggeron.net.
A descendant of Jan Svankmajer and the Brothers Quay, Cristóbal León and Joaquín Cociña’s The Wolf House is a mesmerizing stop-motion storybook fable about a young girl named Maria who flees her Chilean-situated German colony (based on the notorious real-life Colonia Dignidad, formed by ex-Nazis) and, to protect herself from a predatory wolf, takes refuge in a house in the woods. That domicile is in a constant state of transmutation, as is Maria and the two pigs she finds inside, which she transforms into her de facto children. Maternal love is both a blessing and a curse in this ever-metamorphosizing enclave, and León and Cociña’s stunning imagery—combining hand-drawn, painterly, clay- and paper-mache-based animation—is a swirling wonder. Marked by endlessly rotating, fluid hallucinations of birth and decay, it’s a symbolism-rich fantasia that marries the personal and the political in ways that veer from the sweet to the sinister. There’s gnarly, unnerving texture to everything in this unhinged film, which fragments and reforms like a nightmare born from the darkest recesses of the mind.