Flixtor.one movies online right now? 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.
We wish we could have been a fly on the wall when Ken Loach — Britain’s foremost cinematic chronicler of working-class angst and quotidian humanism — first learned about the gig economy. The concept fits right in with the veteran director’s moral vision of a world in which ordinary humans regularly think they can outsmart a system designed to destroy them. In this infuriating, heartbreaking drama, a middle-aged former builder starts driving a truck making e-commerce deliveries and discovers that his dream of being his own boss is the cruelest of illusions. Meanwhile, his wife, a home health-aide worker, struggles with her own corner of a so-called growth industry. What makes this one of Loach’s best isn’t just its rage (which is plentiful) but its compassion (which is overwhelming). It offers a touching cross section of humanity, in which everybody is caught inside a giant machine that discards the weak, feeds on the strong, and perpetuates 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. See more info at flixtor movies.
Using cheery smiles and go-getter glares to conceal profound depths of resentment, ambition and greed, Hugh Jackman gives the performance of his career as Roslyn, Long Island public school superintendent Dr. Frank Tassone in Bad Education. A dramatic account of the historic embezzlement scandal that engulfed Tassone and his colleagues – most notably, assistant superintendent Pam Gluckin (Allison Janney) – Cory Finley’s film (based on Robert Kolker’s New York Magazine article) is a ruthlessly efficient and even-keeled affair about the intense pressures of suburban academia, where educational-ranking achievements and college acceptance rates are intimately intertwined with real-estate prices. The director lays out the myriad forces at play in this ostensibly picture-perfect milieu in exacting detail, and his preference for longer takes means that the focus remains squarely on his performers. That, in turn, allows the HBO feature to rest on the sturdy shoulders of Jackman, who never resorts to caricature in embodying Tassone as a discontent striver whose eagerness for validation dovetailed with his lifelong deceptiveness, to disastrous ends.
Kodi, formerly called XBMC, is a free and open source media player. It’s a highly customizable media player that you can use on your laptop or desktop to get a media center experience. Just in case you’re missing Windows Media Center on Windows 10, Kodi is a great alternative. This contender for the top media player for streaming content is even better if you’re using it with an external, larger display because of its 10-foot user interface. In the recent past, Kodi has been in the headlines due to pre-loaded Kodi boxes and add-ons that support piracy. Kodi plays almost all popular video and music formats, podcasts, and other digital media stored locally or on the internet. Initially, Kodi was independently developed and called Xbox Media Center for the 1st gen Xbox gaming console. This recommended media player also has plug-ins that can be used to expand its features and include functionalities like Netflix, YouTube, Hulu, Veoh, etc. Kodi’s source code is open source and developed by a global community of unpaid volunteers.
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