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February 8, 2020, 7:54 am

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“I have flashbang grenades” Me: Ah yes. flash bang grenades.

Anyone besides me still waiting for this game to be released on Steam? lol. Sign up for our Watching Newsletter to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox. As Netflix pours more of its resources into original content, Amazon Prime Video is picking up the slack, adding new movies for its subscribers each month. Its catalog has grown so impressive, in fact, that its a bit overwhelming — and at the same time, movies that are included with a Prime subscription regularly change status, becoming available only for rental or purchase. Its a lot to sift through, so weve plucked out 100 of the absolute best movies included with a Prime subscription right now, to be updated as new information is made available. Here are our lists of the best TV shows and movies on Netflix, and the best of both on Disney Plus. Billy Wilders poison-penned love letter to Hollywood is often remembered more as a series of moments (particularly its closing line) than for its overwhelming whole: a sometimes tragic, sometimes comic, always riveting story about a faded silent movie queen (an unforgettable Gloria Swanson) and the opportunistic young man who tries to take advantage of her (a prickly William Holden. Our critic wrote that it “quickly casts a spell over an audience and holds it enthralled to a shattering climax. ” Watch on Amazon Ethan Hawke creates one of his finest performances as Father Toller, a country priest with a small parish in upstate New York, in this critically acclaimed drama. Paul Schrader, the writer and director, continues to explore the themes of earlier works like “Taxi Driver” and “Hardcore” while simultaneously seizing on the austerity of Tollers world: The film is quiet and contemplative, which makes its apocalyptic, shattering conclusion all the more impactful. Our critic called it “ rigorously conceived and meticulously executed. ” (Also recommended: Schraders earlier “ American Gigolo ” and “ Bringing Out the Dead. ”) Most superhero movies clobber the viewer with special effects, smirking quips, and strained world-building; Julia Harts indie drama is barely a superhero movie at all, but a rich, tender character study of three women who just so happen to move objects with their minds. Gugu Mbatha-Raw is remarkable as Ruth, who has smothered her “abilities” in addiction and irresponsibility, returning home to join her mother (Lorraine Toussaint) and daughter (Saniyya Sidney) in an attempt to, well, save the world. Harts rich screenplay (written with Jordan Horowitz) vibrates with small-town authenticity and hard-earned emotion; our critic called it “a small, intimate story that hints at much bigger things. ” (For more character-driven drama, add “ Mud ” and “ Hard Eight ” to your watchlist. ) Two jazz musicians (Jack Lemmon and Tony Curtis) disguise themselves in drag to escape some gangsters, but one of them falls for a seductive singer (Marilyn Monroe, in one of her best performances) while the other becomes the object of a millionaires desire. Both uproariously funny and tight as a drum, “Some Like It Hot” works through every complication of its farcical set-up, landing not only on a picture-perfect conclusion but also on one of the best closing lines in all of cinema. Our critic dubbed it “ a rare, rib-tickling lampoon. ” (Wilder and Lemmon's later collaboration “ The Apartment ” is also on Prime. ) The great British writer/director Joanna Hogg tells a story of youthful exuberance, romantic recklessness, and unchecked addiction in early 80s London. Her heroine is Julie (Honor Swinton Byrne, flawless) an idealistic film student who finds herself pulled, time and again, into the orbit of Anthony (Tom Burke) whose roguish charm covers a considerable number of concerning flaws. Tilda Swinton (Byrnes real-life mother) co-stars as Julies concerned mum. Hoggs film is quiet yet revelatory, trusting its audience with these characters secrets — and trusting us enough to fill in their blanks. A. O. Scott raves, “This is one of the saddest movies you can imagine, and its an absolute joy to watch. ” (Stay in a melancholy mood with “ The Last Black Man in San Francisco, ” also streaming on Prime. ) This unapologetically dark comedy changed the high-school movie forever, from the heartfelt and ultimately sunny chronicles of John Hughes to something with a bit more bite. Winona Ryder is tart and charming as Veronica, a popular teen who has come to hate the clique she runs with. Then she meets J. D. (Christian Slater) a Jack Nicholson clone who suggests bumping off their less tolerable classmates. Nearly 30 years on, the sheer riskiness and take-no-prisoners attitude of this delightfully demented picture still shocks; our critic called it “as snappy and assured as it is mean-spirited. ” The director Frank Capra and the actor Jimmy Stewart took a marvelously simple premise — a suicidal man is given the opportunity to see what his world would have been like without him — and turned it into a holiday perennial. But “Its a Wonderful Life” is too rich and complex to brand with a label as simple as “Christmas movie”; it is ultimately a story about overcoming darkness and finding light around you, a tricky transition achieved primarily through the peerless work of Stewart as a good man with big dreams who cant walk away from the place where hes needed most. Our critic dubbed it a “ quaint and engaging modern parable. ” Across six years in the mid-2000s, an analyst named Daniel J. Jones (portrayed by an excellent Adam Driver) pored through 6. 3 million pages of C. I. documents to write the Senate Intelligence Committees Report on the C. 's detention and interrogation program. This taut, angry film from Scott Z. Burns dramatizes that investigative process and what Jones discovered — and the steady growth of his righteous indignation. Burns, in what our critic deemed a “ smart, layered screenplay, ” deftly translates the storys intellectual urgency into emotional agency, making the political into something decidedly personal. The writer-director Cameron Crowe based this 2000 drama on his own teenage years, when he was landing bylines at major music publications before he could drive a car. Crowe elegantly conveys the seductive power of that backstage life, with all its sex and drugs and (most importantly) camaraderie. “It's the kind of picture, ” A. Scott wrote, “that invites you to go back and savor your favorite moments like choice album cuts. ” Patrick Fugit is charming as the naïve Crowe stand-in, while Frances McDormand, Philip Seymour Hoffman and Kate Hudson shine in supporting roles. (For more music-obsessed drama, check out “ Love & Mercy. ”) Nearly 30 years before Quentin Tarantino and Robert Rodriguezs “Grindhouse, ” the director Stanley Donen and the screenwriter Larry Gelbart perfected the fake double-feature with this affectionate send-up of classic Hollywood. “Movie Movie” gives us two films for the price of one, a black-and-white boxing melodrama and a color musical spectacular (with a fake trailer for a World War II flying-ace picture between them) with shared casts including George C. Scott, Trish Van Devere, Red Buttons and Eli Wallach. Our critic called it “Hollywood flimflamming at its elegant best. ” (Movie musical fans will also love “ Fiddler on the Roof. ”) In profiling leaders of the Indonesian death squads of the mid-1960s, documentarian Joshua Oppenheimer invites them to stage elaborate and surreal recreations of their crimes in the cinematic style of their choosing (musical, gangster, Western, etc. In doing so, Oppenheimer directs his subjects to craft an upsetting but telling statement on self-deception and the toxicity of power, and on the lies we tell ourselves in order to sleep at night. Our critic deemed it “ dogged, inventive, profoundly upsetting and dismayingly funny. ” (For more tough but essential documentary filmmaking, check out the Oscar-nominated “ For Sama. ”) Greta Gerwig made her solo feature directorial debut with this funny and piercing coming-of-age story, set in her hometown, Sacramento, Calif. Saoirse Ronan dazzles in the titular role as a quietly rebellious high-school senior whose quests for love and popularity bring her long-simmering resentments toward her mother (Laurie Metcalf, magnificent) to a boil. Parent-child conflicts are nothing new in teen stories, but Gerwigs perceptive screenplay slashes through the familiar types and tropes, daring to create characters that are complicated and flawed, yet deeply sympathetic. Scott praised the films “ freshness and surprise. ” (“ Eighth Grade, ” “ Ghost World ” and “ It Felt Like Love ” are similarly complicated coming-of-age stories on Prime. ) When people say, “They dont make em like they used to, ” this is the kind of movie theyre usually talking about: a sparkling literary adaptation, handsomely mounted and elegantly acted by an all-star cast (including Sean Connery, Lauren Bacall, John Gielgud, Anthony Perkins, Vanessa Redgrave and Ingrid Bergman, who won an Oscar for her role. Albert Finney stars as Agatha Christies Hercule Poirot, who is called upon to figure out which passenger on the title train killed a man whom, it seems, they all had a motive to murder. Our critic called it “ superb fun. ” The director of “Tangerine, ” Sean Baker, returns with another warm and funny portrait of life on the fringes, melding a cast of nonactors and newcomers with an Oscar-nominated Willem Dafoe as the manager of a cheap Orlando motel populated by confused tourists and barely-managing families. The script (by Baker and Chris Bergoch) captures, with startling verisimilitude, the anxieties of living paycheck-to-paycheck (particularly when the next paychecks very existence is uncertain) while also borrowing the devil-may-care playfulness of the children at the storys center. Our critic called it “ risky and revelatory. ” (Fans of unpredictable indie fare should also check out “ You Were Never Really Here. ”) The winner of five Academy Awards — including best picture, best actress (Shirley MacLaine) best supporting actor (Jack Nicholson) and best director — this adaptation of the Larry McMurtry novel is a delicate balancing act, swinging between tear-jerker, family drama and situation comedy. Yet the screenwriter and director James L. Brooks (“As Good as It Gets”) manages to juggle those disparate tones with ease, girding his scenes with the raw emotions and freewheeling lyricism of these eccentric characters. Our critic deemed it “ a funny, touching, beautifully acted film. ” (For more top-notch literary adaptations, queue up “ The Sweet Hereafter ” and “ Wonder Boys. ”) Channing Tatum stars in this “ funny, enjoyable romp ” (per our Manohla Dargis) based on his own early-career exploits as a stripper — or, as the film puts it, a “male entertainer. ” The director Steven Soderbergh offers a fairly traditional story about a young performer who must learn the ropes of show business, but he adds a few twists: a preoccupation with economic systems, for one, and a convincing portrayal of feminine lust — rare for a mainstream movie, particularly one directed by a man. Matthew McConaughey is hilarious as the ringleader of his bump-and-grind roadshow. An unexplained and unstoppable zombie uprising forces a group of strangers to join forces for a common goal in this 1968 horror classic from director George A. Romero. In the half-century since its release, its been justifiably praised for its pseudo-documentary, newsreel aesthetic, as well as the adjacent social commentary and political subtext (particularly with regards to its African-American lead, and the unexpected payoff of its grim final scene. But it also remains, after all these years, scary as hell. Few fictional characters have embedded themselves in the pop culture consciousness as firmly as Dr. Hannibal Lecter, the brilliant monster brought to bone-chilling life by an Oscar-winning Anthony Hopkins in Jonathan Demmes 1991 adaptation of the Thomas Harris bestseller. The film also won awards for Best Picture, Best Director, Best Screenplay, and Best Actress – a quintuple play only matched two other times in film history – all deserving, none perhaps more so than Jodie Foster, whose indelible portrayal of the rookie F. B. investigator Clarice Starling sharply combines small-town naïveté with quick-witted strength. Our critic called it “ pop film making of a high order. ” South Korean master Park Chan-wook (“Oldboy”) takes the stylistic trappings of a period romance and gooses them with scorching eroticism and one of the most ingenious con-artist plots this side of “The Sting. ” Working from the Sarah Waters novel “Fingersmith, ” Park begins with the story of a young woman who, as part of a seemingly straightforward swindle, goes to work as a Japanese heiresss handmaiden, occasionally pausing the plot to slyly reveal new information, reframing what weve seen and where we think he might go next. Manohla Dargis dubbed it an “ amusingly slippery entertainment. ” (Foreign film fans may also enjoy Herzogs “ Fitzcarraldo, ” Truffauts “ Pocket Money, ” and Buñuels “ The Discreet Charm of the Bourgeoisie. ”) One of the greatest of all “gritty Gotham” movies — our critic called it “a movie that really catches the mood of New York and New Yorkers” — this darkly funny, white-knuckle thriller from the director Joseph Sargent concerns four armed men who take a subway car hostage, demanding a million dollar ransom for the lives of the passengers aboard. Robert Shaw is coolly ruthless as the leader of the gang while Walter Matthau is at his hangdog best as the cynical transit cop hot on their trail. (Vintage action aficionados will also want to queue up “ The Terminator. ”) The original 1956 “Invasion of the Body Snatchers, ” in which alien invaders implant themselves in humans and take on their form, was widely seen as an allegory for the Red Scare. This “ dazzling remake, ” as our critic described it, is updated and released from that context, but it found another in post-hippie, health-obsessed San Francisco. The stakes are lower, but the remake has a self-aware sense of humor and a decent proportion of gross-outs and jump-scares, as well as an ending thats just as creepy as the originals. Three years after reinventing the crime movie with “Bonnie and Clyde, ” the director Arthur Penn worked similar magic on the Western, adapting Thomas Bergers novel about a very old man (Dustin Hoffman) who tells the tale of his exploits in the Old West, where he was raised by Native Americans. The films attitudes toward indigenous people were boldy progressive at the time of its release, in 1970, coming as it did during a period when most Westerns still teemed with racist images of “merciless Indian savages. ” (Source: The Declaration of Independence. Our critic called it a “ tough testament to the contrariness of the American experience. ” (Westerns fans should also catch Clint Eastwood in “ Hang Em High ” and the John Wayne classic “ Stagecoach. ”) Between the first two “Godfather” epics, Francis Ford Coppola wrote and directed this modest character study, in which the proudly impersonal surveillance expert Harry Caul (Gene Hackman) becomes unexpectedly invested in the subjects of his work and then decides he must step in to save their lives. Like its protagonist, “The Conversation” is most riveting in its quietest moments, though its bold opening sequence — in which Caul attempts to eavesdrop on a whispered conversation in a crowded park — is both brilliant filmmaking and a riveting snapshot of Watergate-era America. Our critic praised Hackmans “ superb performance. ” (Love paranoid thrillers? Try “ Three Days of the Condor ” and “ Breakdown. ”) Asghar Farhadi writes and directs this lucid and contemplative morality play, in which a married couple must grapple with the fallout of an assault on the wife in their home, particularly when the husbands desire for vengeance surpasses her own. Farhadis brilliance at capturing the complexities of his native Irans culture is as astonishing as ever — particularly when coupled with insights into victimhood, justice, poverty and intimacy that know no borders. Scott praised the pictures “ rich and resonant ideas. ” (Fans of foreign drama should also check out “ Cold War, ” “ Embrace of the Serpent ” and “ In a Year With 13 Moons. ”) Humphrey Bogart won his first and only Oscar for his role as the gin-soaked roughneck at the helm of the titular vessel; this was also his only on-screen pairing with his fellow icon Katharine Hepburn. Most of what happens is predictable, from the outcome of the dangerous mission to the eventual attraction of the opposites at the storys center, but the actors and John Hustons direction keep the viewer engaged and entertained. Our critic praised the pictures “ rollicking fun and gentle humor. ” Norman Jewison helms this seductive blend of cynicism and schmaltz from the screenwriter John Patrick Shanley, in which several seemingly hardened New Yorkers discover theyre hopeless romantics after all. Cher has never been more glorious as the widow Loretta, especially when she reacts to Nicolas Cages morning-after declaration of love with “Snap out of it! ” and a sharp slap in the face. Olympia Dukakis is frisky and funny as Lorettas world-weary mother, who turns out to have man troubles of her own; both women won Oscars for their work in this joyous, swoony treat. This stunning documentary concerns the life and writings of James Baldwin, but its less focused on tracing the arc of its subjects life than on the potency of his words. Director Raoul Peck uses as his framework the notes of Baldwins unfinished book “Remember This House, ” in which Baldwin was attempting to reckon with the legacies of Martin Luther King, Malcolm X and Medgar Evers; guided by Baldwins passages, Peck constructs an urgent and audacious essay about our past and our present. Our critic called it “a concise, roughly 90-minute movie with the scope and impact of a 10-hour mini-series. ” (Documentary aficionados should also queue up the Oscar-winning “ Citizenfour. ”) One of the most enduring images of the great Buster Keaton comes from this 1928 classic, in which a clueless Keaton, wandering the streets of his hometown during a cyclone, pauses for a moment in front of a building — which collapses around him, his life saved only by his accidental position in the landing place of an open window. Our critic called it “ one of the most astonishing sight gags ever filmed, ” and good news: The rest of the movie is wonderful too. (For more of Mr. Keaton, stream “ College ” on Prime. ) Lee Danielss adaptation of Sapphires novel “Push” won two Oscars – for Geoffrey Fletchers bleak but powerful screenplay adaptation, and for MoNiques masterly portrayal of the protagonists brutal, bitter, abusive mother. Yet for all of the films grim authenticity and unrelenting melancholy, its ultimately a story of hope and ascension, in which the title character (the marvelous Gabourey Sidibe) discovers the light inside herself that cannot be extinguished. “It howls and stammers, ” A. Scott wrote, “but it also sings. ” (For more female-driven drama, check out “ Frances ” and “ Atlantic City ” on Prime. ) Joel and Ethan Coens story of a struggling folk singer in Greenwich Village in 1961 cheerfully intertwines fact and fiction; they faithfully reproduce that period, and incorporate many of its key figures into a week in the life of the title character (played by Oscar Isaac. But this is not just a museum piece, or a “music movie. ” Its about the feeling of knowing that success is overdue, and yet may never arrive. Scott called it an “ intoxicating ramble. ” Kenneth Lonergan makes films about people in turmoil, roiled by bottomless sadness, dysfunction and guilt. Casey Affleck won an Oscar for his nuanced portrayal of Lee Chandler, a Boston plumber who, for all practical purposes, is broken; Lucas Hedges is prickly and funny as the nephew who needs him to put himself together again. Keenly observed, emotionally fraught and surprisingly funny, its a tear-jerker in the best sense, never stooping to cheap manipulation. Our critic called it “ a finely shaded portrait. ” (For more indie drama, try “ Leave No Trace. “ The Virgin Suicides ” and “ We Need to Talk About Kevin. ”) The director Brian De Palma took an “everything but the kitchen sink” approach to the conspiracy thrillers of the 1970s with his “ flashy, eclectic ” and ultimately tragic 1981 masterpiece, which cheerfully cribs elements of Chappaquiddick, Watergate and the Kennedy assassinations to create the hybrid story of a movie sound man (John Travolta, excellent) who accidentally tape-records what may have been a politically motivated murder. Nancy Allen gracefully transcends the clichés of her “hooker with a heart of gold” character, while John Lithgow is as scary as hes ever been — which is no small statement. (For more from De Palma, queue up his erotic thriller ‘ Dressed to Kill or his horror classic ‘ Carrie. ) This energetic and entertaining animated western comedy swipes its water-control plot from “Chinatown” and its style from Sergio Leone; even Johnny Depps earlier desert-wandering tale “Fear and Loathing in Las Vegas” gets a shout-out. In other words, its a family film for movie buffs, steeped in genre conventions and filled with sly little winks and inside jokes, but it resists the urge to coast on its own cleverness. Our critic raved, “this rambling, anarchic tale is gratifyingly fresh and eccentric. ” (For more outrageous comedy, stream “ A Shot in the Dark ” on Prime. ) Ryan Gosling is vivid and terrifying in his breakthrough role as Daniel Balint, a neo-Nazi with a dark secret: Hes Jewish, a former yeshiva student who turned violently against his own people. Gosling makes a meal of the characters contradictions while the writer-director Henry Bean (drawing from the true story of Dan Burros, a member of the American Nazi Party) constructs a narrative that portrays Balint, quite correctly, as a ticking bomb. Its disturbing, riveting and timely. Terrence Howard landed an Academy Award nomination for this down-South hip-hop drama, which also boosted the profiles of Taraji P. Henson and Anthony Anderson. Howard plays a Memphis pimp and hustler who tries to make a move into the music business by way of a homemade demo and a tentative connection to a local hero. Its a modern take on the classic rags-to-riches musical story, but mounted with gritty authenticity and undeniable heart by the writer-director Craig Brewer; his best moments, of friends gathered in a back room trying to make something great, capture the thrill and electricity of the creative process. (For more Oscar-winning drama, check out “ Ordinary People, ” “ Children of a Lesser God and “ Rain Man. ”) In 1989, the country was shocked by the sexual assault and near-death of a young white jogger in Central Park. Five black and Latino youths were quickly charged, tried, sentenced and imprisoned — until a serial rapist confessed over a decade later, his claim borne out by DNA evidence. This informative and infuriating documentary by Ken Burns, Sarah Burns and David McMahon meticulously details the charged atmosphere in which the five teenagers were accused and convicted, as well as the tremendous personal toll taken by this miscarriage of justice. Our critic called it “ emotionally stirring. ” (Also worth watching: the thought-provoking, expressionist documentary “ Hale County, This Morning, This Evening. ”) Michelle Pfeiffer finally found her star-making role in this deliriously enjoyable gangster comedy from the director Jonathan Demme (“The Silence of the Lambs”. She plays Angela de Marco, a Mob widow who finds herself caught between the crime family of her dead husband (Alec Baldwin) and the affable F. man (Matthew Modine) who wants her to work for him. Jazzily mounted and giddily funny, our critic called it “ wildly overdecorated screwball farce. ” (For more mob-inspired fun, stream “ Get Shorty ” on Prime. ) The director John Schlesinger captures the sights and sounds (and practically the smells) of Times Square in the late 1960s with this absorbing winner of the Oscar for Best Picture — the first and only X-rated movie to capture that prize. Jon Voight was propelled to stardom by his charming performance as Joe Buck, a naïve Texas boy who comes to New York City with visions of rich women in his head; Dustin Hoffman created another memorable character as the street-wise native who shows him the ropes. (“Im walkin here! ”) Our critic called it “ a moving experience that captures the quality of a time and a place. ” The three-decade journey of the psychedelic rock band the Grateful Dead is brought to vivid life in this six-part, four-hour documentary from director Amir Bar-Lev (“The Tillman Story”. And while the archival materials and rarities will please Deadheads, the film has even more to offer to casual admirers and even newcomers, who will come away with a better understanding of what made this band (and the misfits they attracted) so special. Our critic called it “ ambitiously assembled and elegantly directed. ” (Music-minded documentary fans will also want to check out the peerless concert doc “ Stop Making Sense. ”) Charles Chaplins first feature-length comedy — “six reels of joy, ” according to the original advertisements — was informed by his suspicion that audiences would grow restless if subjected to an hour-plus of gags and slapstick. So he went all-in on pathos, creating a story in which his iconic Little Tramp character discovers an abandoned baby, raises the child as his own and must then summon all his ingenuity to keep their makeshift family intact. Even this first time out, Chaplin juggles the seemingly incongruent tones with ease. Our critic praised Chaplins “ inimitable pantomime. ” Emily V. Gordon and Kumail Nanjiani based their first screenplay on their own, unconventional love story — a courtship that was paused, then oddly amplified by an unexpected illness and a medically induced coma. This isnt typical rom-com fodder, but its written and played with such honesty and heart that it somehow lands. Nanjiani and Zoe Kazan (standing in for Gordon) generate easy, lived-in chemistry and a rooting interest in the relationship, while a second-act appearance by Holly Hunter and Ray Romano as her parents creates a prickly tension that gives way to hard-won affection. Our critic deemed it “ a joyous, generous-hearted romantic comedy. ” (If you like your comedies with a dash of heartfelt drama, we also recommend “ Harold and Maude ” and “ The Adventures of Priscilla, Queen of the Desert. ”) As director of the “Oceans” trilogy, Steven Soderbergh honored the classic heist movie aesthetic: sleek, classy and star-studded. And then he set out to subvert all of those conventions with this working-class heist comedy, in which a minor character describes its central job as “Oceans 7-11. ” The key players are familiar (the safecracker, the computer whiz, the sexy girl, the brains of the operation) but theyre done with salty fun and earthy humor. Youll never say “cauliflower” the same way again. Our critic dubbed it “gravity-defying” and “ ridiculously entertaining. ” (Caper movie fans may also enjoy “ A Simple Plan. ”) This sun-drenched romp reunited the director Alfred Hitchcock with one of his favorite leading men, Cary Grant, and with Grace Kelly, the ultimate “Hitchcock Blonde. ” The sparks are nuclear-grade as the two fall in love, and they trade witticisms, jabs and flirtations with aplomb against the  beautiful backdrop of the South of France. Our critic wrote, “the script and the actors keep things popping, in a fast, slick, sophisticated vein. ” (If you love stories of larceny, add Stanley Kubricks “ The Killing ” to your watchlist. ) Rod Steiger was nominated for an Oscar for his bravura turn as a Holocaust survivor and Harlem pawnshop owner in this searing drama from the director Sidney Lumet. Sol Nazerman (Rod Steiger) copes with his considerable trauma by shutting out those around him, treating everyone from employees to strangers with a calculated coldness. But he finds himself unable to compartmentalize his pain, as his past begins to encroach upon, and merge with, his present. Ralph Rosenblums influential “subliminal” editing and Boris Kaufmans moody cinematography transcend gimmickry to create a powerful, visceral, first-person experience, projecting (per our critic) “a disagreeable subject with power and cogency. ” (Steiger also shines in the 1967 Oscar winner “ In the Heat of the Night. ”) Our critic deemed Stanley Kramers adaptation of Jerome Lawrence and Robert E. Lees stage play (based on the notorious Scopes “monkey trial”) to be “ triumphant, ” its climax “one of the most brilliant and engrossing displays of acting ever witnessed on the screen. ” The actors in question are Frederic March and Spencer Tracy, in career-best form as, respectively, the Bible-pounding orator and the agnostic defense attorney on opposite theological and philosophical sides of the evolution debate. Kramer cranks up the carnival atmosphere, to great effect, and pulls a rare (and entertaining) nonmusical supporting turn from Gene Kelly as an H. L. Mencken-esque newspaper reporter. (Tracy is also at the sensible center of the all-star slapstick comedy “ Its a Mad Mad Mad Mad World. ”) Directed by Howard Hawks, this 1940 film wasnt the first cinematic adaptation of the popular play “The Front Page, ” but it cooked up a twist the 1931 version hadnt: What if Hildy Johnson, the superstar reporter whom the ruthless editor Walter Burns will keep on his staff at any cost, wasnt his drinking buddy but his ex-wife? Its a movie that talks fast and moves faster, and the passage of nearly 80 years hasnt slowed it down a bit. Our critic called it “a bold-faced reprint of what was once — and still remains — the maddest newspaper comedy of our times. ” (For more classic romance, check out “ Royal Wedding. ”) The director David Cronenberg rarely made traditional horror films, and this 1983 adaptation of the best-seller by Stephen King is no exception. Its as much science-fiction as horror, focusing on a regular Joe (Christopher Walken, muted and effective) who comes out of a five-year coma with the ability to see the futures of those he touches. This thoughtful and tricky picture is as interested in moral dilemmas and historical ramifications as it is in thrills and chills; our critic found it “unsettling” and “ quietly forceful. ” This animated French charmer (revoiced for English audiences with an all-star cast) has the look and feel of a lovingly illustrated old childrens book and serves as a reminder, in a landscape of glistening, spit-shined computer-generated animation, of the handmade joys of the form. The watercolor-infused style is appropriate to this odd little story of two outcasts who bond and help each other in spite of their respective species disapproval — “ an ode, ” our critic wrote, “to the happiness that comes from being with those different from us. ” Oliver Stone graduated from a respected screenwriter to a top-flight filmmaker with this harrowing Vietnam War drama, which won Oscars for best Picture and director. Stone based the film on his own experiences in Vietnam, with Charlie Sheen as his avatar, a clean-cut kid from a privileged background whose eyes are opened to the horrors of combat and conflict. Willem Dafoe and Tom Berenger singe the screen as his sergeants, one free-spirited and open, the other hard-edged and cruel. Our critic called it a “ vivid, terse, exceptionally moving ” film. This Polish possession story from the writer and director Marcin Wrona opens on a note of uncertainty and dread and then holds it for 94 harrowing minutes. Wrona transforms the relatable fears of wedding day into something far more sinister, as our groom protagonist discovers horrifying skeletons in his new familys closet (or, more accurately, its yard) the filmmaker offsets the considerable nightmare imagery and wild-eyed desperation with piercing moments of gallows humor, particularly in contemplating how “sensible people” might react to these events. Our critic praised its “ light shivers ” and “bluntly old-fashioned screen magic. ” (Fans of trippy genre movies will also enjoy “ Always Shine ” and “ High Life. ”) Watch on Amazon.

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So this is what Solid Snake does in his down time. D Jokes aside, thank you! This video taught me, well many things, but one I can manage to use; and that was picking up bags taking them to else where other than the van and building up a stash. Before this, not realizing you could do that (not giving it any thought) I was loading up bags and taking them to the van one at a time, unnecessarily long process! Thank you! D.

Says future billionaires come to get inspired Makes video on million dollar bank heists

I love your Content. -Unknown 2019 November 30th. UNLIMITED TV SHOWS & MOVIES SIGN IN Eight thieves take hostages and lock themselves in the Royal Mint of Spain as a criminal mastermind manipulates the police to carry out his plan. Starring: Úrsula Corberó, Álvaro Morte, Pedro Alonso Creators: Álex Pina Watch all you want for free. Part 4 Coming April 3 This riveting crime series won Best Drama at the International Emmy Awards, Premios Fénix and Premios Iris (plus six more Iris wins. Additional Videos Money Heist Episodes Money Heist When Río is captured, a distraught Tokyo turns to the Professor for help. Armed with a bold new plan, they reunite the team in order to rescue him. The Professor recruits Martín to put his brother's plan into action and target the Bank of Spain. First step? Create total chaos. Tokyo and Nairobi's efforts go drastically awry. The Professor recalls Berlín detailing how they'd steal the gold from the water-logged vault. Tamayo's breaches of protocol surprise the Professor. Bogotá calms Denver's anxieties. With time running out, Palermo initiates the "Flipper" plan. The Professor shocks officials with his latest stunt, but in response, a new inspector rattles Raquel. Palermo and Nairobi get into a heated argument. Just as Inspector Sierra orchestrates a plan to sneak a team into the Bank of Spain, the Professor and Raquel lose communication with Palermo. Tokyo's happiness turns bittersweet. Ángel closes in on a quarreling Raquel and the Professor. Authorities offer a multimillion-dollar reward for tips. Tokyo attempts to drown her sorrows. Sierra uses personal tactics to target a vulnerable Nairobi, while Suárez continues to hunt down Raquel. The Professor recruits a young female robber and seven other criminals for a grand heist, targeting the Royal Mint of Spain. Hostage negotiator Raquel makes initial contact with the Professor. One of the hostages is a crucial part of the thieves' plans. Police grab an image of the face of one of the robbers. Raquel is suspicious of the gentleman she meets at a bar. Raquel suffers a personal crisis with her ex. The hostages are frightened by the gunshots they overheard. The thieves argue among themselves. The thieves let a medical team enter the Mint, and an undercover policeman sneaks in with them. Can the Professor stay one step ahead of Raquel? Mónica's condition worsens. The Professor enjoys the spoils of his latest trick. Río is disturbed by news he sees on the television. A break in the investigation and a mistake by one of the thieves puts the Professor at serious risk of being discovered. Tokyo catches Alison chatting with Río and confronts her. The police suspect a spy is in their midst. The Professor races to stop a witness from identifying him. Berlín seeks revenge once his own name is revealed and slandered in the press. Raquel enters the Mint to ascertain that all of the hostages are still alive and well. Nairobi gives Alison advice. Ángel and Raquel question each other's loyalties. Mónica makes a move on Denver. Río is faced with a difficult decision. Arturo continues to formulate an escape plan for a group of hostages. The Professor reveals who gave him the idea for the heist. The Professor meets Raquel's mother under stressful circumstances. At the Mint, the thieves offer the hostages a decision: money or freedom? As forensic experts comb the Toledo country house for DNA, the Professor loses control. Inside the Mint, the robbers' nerves reach a breaking point. The police interrogate the first robber to be captured. Furious over Berlín's recent actions, Río takes a stand against him. Hoping to learn the Professor's identity, Raquel appeals to her captive's emotions. A punishment for "high treason" sparks a revolt among the robbers. Recognizing their plan isn't working out, the robbers instead aim to win over the public via the press. Raquel plots a trap to capture the Professor. Arturo tries to set another escape plan in motion. During a conversation with Salva, Raquel spots a tiny detail that gets her mind racing. After confessing a long-held secret, Moscow loses his son's trust. A contingency plan to free Tokyo hits a snag, forcing her to improvise. With one of their own critically injured, the robbers race against time to save his life. During a moment alone, Ariadna makes a confession to Mónica. After being removed from the case due to her relationship with the Professor, Raquel sets out to conduct her own search for the mastermind. As the police enter the Mint, Berlín leads the robbers in a final showdown. Will they escape with the 984 million euros. and with their lives intact? More Details Watch offline Available to download Genres Spanish TV Shows, TV Thrillers This show is. Exciting, Suspenseful Cast Úrsula Corberó Álvaro Morte Pedro Alonso Alba Flores Rodrigo de la Serna Miguel Herrán Jaime Lorente Itziar Ituño Esther Acebo Darko Peric Najwa Nimri Hovik Keuchkerian Enrique Arce Paco Tous María Pedraza Kiti Mánver Coming Soon.

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I like how you help people. This inspired me to help the new people to this game and get them some money and teach them what all the perk decks do. I know this is an old video but I thought Id just say.