Stream It Or Skip It: 'The Lincoln Lawyer' Season 2 On Netflix, Where Mickey Gets Into An Ethical Dilemma While His Practice Takes Off 'Peaky Blinders' States They "Do Not Support nor Endorse" Ron DeSantis After He Used Unauthorized Footage in an Anti-LGBTQ Campaign Video
‘The Lincoln Lawyer’ Season 2 Episode 5 Recap: “Suspicious Minds” Stream It Or Skip It: ‘The Quiet Girl’ on Hulu, a Softly Devastating, Must-See Irish Drama Stream It Or Skip It: 'The Out-Laws' on Netflix, The Latest Happy Madison Yukfest (That Doesn't Feature Adam Sandler)ĭiablo Cody Reveals Why She "S*** The Bed" With Her Original 'Barbie' Script: "They Wanted a Girl-Boss Feminist Twist" Stream It Or Skip It: 'Gold Brick' on Netflix, a Throwbacky French Caper With an Anticapitalist Twist A.H.Stream It Or Skip It: ‘The Blackening’ on VOD, an Uproarious Comedy Skewering Horror Tropes Via the Black Experience Contains strong language and mature thematic elements. But the elements of O’Connor’s story - her bravery, prescience, ultimate vindication and that ethereal, scorching voice - take on irresistible cumulative power.
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With a dearth of visual material from O’Connor’s youth, Ferguson is forced to rely on hazy reenactments, and Prince’s estate sadly declined her request to license “ Nothing Compares 2 U,” the song that made O’Connor a superstar. Ferguson then loops back to fill in the biography leading to that moment, with O’Connor herself narrating her abusive childhood, her escape to punk-era England, her self-discovery by way of Rasta culture, gay nightlife, aesthetic camaraderie, and the birth of her son and her serenely self-contained insistence on always going her own way, regardless of the haters. “Nothing Compares” opens with O’Connor at Madison Square Garden in 1992, when she stared down a hostile crowd at a Bob Dylan tribute concert, just days after ripping up a picture of Pope John Paul II on “Saturday Night Live,” an act that made her an instant pariah.
In “ Nothing Compares,” director Kathryn Ferguson invites viewers to consider the Irish singer Sinéad O’Connor, not as a train wreck in need of saving but as a breathtakingly courageous avatar, an artist-activist who came to both identities honestly, by way of sensitivity and supernatural vocal range as well as deep wells of empathy and garden-variety chutzpah. The recent canon of films reappraising maligned female pop stars of the 1990s now has a galvanizing and thoughtful new addition. Contains coarse language and some war violence. It doesn’t sound like it, but “The Greatest Beer Run Ever” turns out to be a tale about moral ambiguity, about truth and lies, about PR and PTSD - and, ultimately, about the meaning of friendship. But the movie, like its hero, eventually matures into something with a greater appreciation of nuance. Chickie, you see, believes in the war effort with an irritating naivete but is eventually disillusioned after he meets a cynical American photojournalist (Russell Crowe) and sees firsthand that the in-country chaos that characterizes the conflict isn’t like he imagined war to be.
One of the soldiers Chickie encounters remarks that “some people are too dumb to get killed,” and Chickie, who seems to have a guardian angel looking out for him, certainly fits the bill.) But he quickly gets an education, in what turns out to be a complex story that is elevated well above its title. The escapade by Chickie Donohue (Zac Efron) was also dumb and dangerous, and at first the film has an unsettlingly larky tone. “ The Greatest Beer Run Ever” is a dumb title for this film by Peter Farrelly (“ Green Book”), based on the true story of a New York Merchant Marine who, in 1967, took a freighter to Vietnam just so he could spend three days on furlough bringing a duffel bag filled with American beer to his enlisted buddies from back home.
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