Watch movies free online? The tony Pennsylvania prep school in which Tayarisha Poe’s nimble debut takes place might bring to mind mean-rich-kid chronicles like Cruel Intentions — but it has more in common with Rian Johnson’s 2005 baby-faced neo-noir Brick. Selah and the Spades is a teen drama in which the line between social clique and mob family feels incidental, taking place in a boarding-school bubble that’s enthralling and insular, privilege serving as a kind of leveling agent that makes day-to-day skirmishes for dominance the only thing that matters. And at the still center of this surprisingly tumultuous world is Selah (Lovie Simone), a character whose desire for a successor wars with her instinct to destroy anyone who challenges her place — even when it’s someone of her own choosing. It’s a compelling portrait of someone who, having made herself the queen of this limited kingdom, finds herself terrified of life when she leaves.

Andrew Patterson’s The Vast of Night is a marriage of the old and the new, blending effects-aided cinematic showmanship to old-school radio drama. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself.

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. Find additional information at watch movies online.

Competing with other video players like VLC, PotPlayer has managed to earn a good reputation in recent times. This multimedia software for Windows platform has been developed by South Korean internet company named Kakao. PotPlayer has tons of features and specialties that can easily give VLC a run for its money. This recommended media player comes with a wide range of customization options that allow you to make this software fit for your needs. Using the techniques like CUDA, QuickSync, and DXVA, PotPlayer is able to deliver maximum performance and lightweight experience. That’s why PotPlayer is the second best media player on the list. Compared to VLC, PotPlayer might be less popular but it supports even more file types. It goes without saying that it’s a great player for MP4/FLV/AVI/MKV files, which are very common. You have the option to make a choice between sound cards, bookmark your favorite scenes and preview them, etc. You also get filters for brightness, contrast, hue, noise reduction, etc. It also comes with lots of built-in keyboard shortcuts and hotkeys. But, what makes VLC more popular than PotPlayer? Well, for most of the users, the long list of features and settings might be just too much. Also, PotPlayer is limited to Windows. Overall, PotPlayer is one of best media players around if you want to ditch VLC Media Player.

Despair, desire, and madness are all entangled in Josephine Decker’s Shirley, about the late horror writer Shirley Jackson’s (Elisabeth Moss) attempt to pen her sophomore novel Hangsaman while dealing with her unfaithful critic/professor husband Stanley Edgar Hyman (Michael Stuhlbarg) as well as two boarders, aspiring academic Fred (Logan Lerman) and his pregnant wife Rose (Odessa Young). The director’s follow-up to Madeline’s Madeline is a psychosexual affair about lost women driven crazy by callous, self-serving men, and their resultant fears and needs. As with her acclaimed debut, Decker’s latest recounts its action through expressionistic visuals—smeary, off-center compositions; intense close-ups; dreamy interludes in which fantasy and reality blend together—and a score of jangly, strident strings, rumbling bass and thunderstorm crashes. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. It’s Young, however, who holds the hothouse material together as the self-actualizing Rose, whose journey mirrors that of the missing girl Jackson is writing about, and who serves as the beating heart of this slyly furious film.

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