The War A Ken Burns Film DVD and premium region 4 dvd online stores in 2021? Oz Perkins is a horror lyricist fixated on grief and female agency, and both factor heavily into his atmospheric reimagining of the classic fairy tale. In a countryside beset by an unknown plague, teenage Gretel (It’s Sophia Lillis) refuses to work as an old creepy man’s housekeeper, and is thus thrown out by her mother, forced to take her young brother Hansel (Sam Leakey) on a journey through the dark woods to a convent she has no interest in joining. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. Perkins sticks relatively closely to his source material’s narrative while nonetheless reshaping it into a story about feminine might and autonomy, and the potential cost of acquiring both. Drenched in ageless, evil imagery (full of triangular pagan symbols, pointy-hatted silhouettes, and nocturnal mist), and boasting a trippiness that becomes hilariously literal at one point, Gretel & Hansel casts a spell that feels at once ancient and new.
Star Trek: Deep Space Nine (sometimes abbreviated to DS9) is a science fiction television series set in the Star Trek universe in the Milky Way galaxy, in the years 2369¨C2375. In contrast to other Star Trek TV shows, it primarily takes place on a space station rather than a starship, so as not to have two series with starships in the same time period; the series ran concurrently with Star Trek: The Next Generation during its first two seasons and with Star Trek: Voyager for the remainder of its run. The starship USS Defiant was introduced in season 3, but the Deep Space Nine space station remained the show’s primary setting. See more info at Star Trek Deep Space Nine Complete Series.
The systemic culture of indifference and cruelty that often forms around a powerful serial abuser gets put under the microscope in this studiously observed New York office drama, which draws inspiration from the behavior of Harvey Weinstein while intentionally blurring some of the details. We never learn the name of the tyrannical boss in the story and the exact nature of his crimes are never fully revealed; instead, Julia Garner’s assistant Jane, a Northwestern grad fresh off a handful of internships, provides our entryway into the narrative. The movie tracks her duties, tasks, and indignities over the course of a single day: She makes copies, coordinates air travel, picks up lunch orders, answers phone calls, and cleans suspicious stains off the couch. At one point, a young woman from Idaho appears at the reception desk, claims to have been flown in to start as a new assistant, and gets whisked away to a room in an expensive hotel. Jane raises the issue with an HR rep, played with smarmy menace by Succession’s Matthew Macfadyen, but her concerns are quickly battered away and turned against her. Rejecting cheap catharsis and dramatic twists, The Assistant builds its claustrophobic world through a steady accumulation of information. While some of the writing can feel too imprecise and opaque by design, Garner, who consistently steals scenes on Netflix’s Ozark, invests every hushed phone call and carefully worded email with real trepidation. She locates the terror in the drudgery of the work.
Several words about streaming services : Hulu’s web interface for live and on-demand content looks much more modern now than in years past, with big, flashy sliders and easily discoverable content. Hulu is planning to make interface text more legible in a forthcoming update. The homepage highlights noteworthy shows with horizontally scrolling lists below for categories such as Live Now, My Channels, Sports, News, and Hulu Originals. At the top of the page, you get categories for Live TV and My Stuff. Search and Account options live in the upper right-hand corner of the screen. The search feature is not as robust as the one offered by YouTube TV, which allows you to combine terms (such as “Science Fiction” and “1982”). In the account section, you can manage billing details and your subscription add-ons. You can also add user profiles for individual users, a feature we appreciate. While you can restrict certain profiles to kid-friendly content only, that’s not as flexible as other platforms’ capabilities, which let you set restrictions by content ratings.
The modern gig economy receives a thorough thrashing by Ken Loach’s Sorry We Missed You, another sober class-conscious drama from the celebrated British director. Faced with limited professional options, Ricky (Kris Hitchen) gets a job as a delivery driver for a company that doesn’t technically hire him; rather, he’s “self-employed,” meaning the onus for everything falls on his shoulders. That proves to be an arduous state of affairs given that his wife Abbie (Debbie Honeywood) is a home care nurse who works long hours (also for “herself”), and their son Seb (Rhys Stone) is a school-skipping, graffiti-spraying teen who – having seen the incessant, back-breaking toil and anxiety that comes from his parents’ chosen paths – has opted instead for delinquency. As hardships mount, Loach incisively details the major and minor ways in which this contractor-oriented paradigm is fundamentally rigged against workers. His despairing condemnation is all the more wrenching for coming via a deeply empathetic portrayal of an everyday clan buckling under the strain of unjust forces out of their control. Find even more information on https://www.dvdshelf.com.au/..
Exhilaratingly political but unfailingly intimate, Eliza Hittman’s third film is a thriller whose antagonist isn’t a person, but a society bent on treating the bodies of the main characters as common property. Never Rarely Sometimes Always takes place over the course of a few days in which a pregnant teenager travels with her cousin to New York City to obtain the abortion that restrictions have made unavailable to her in their home state of Pennsylvania. The precariousness of their situation, which soon stretches beyond the capacity of their meager resources, is counterbalanced by the strength of their bond. Newcomers Sidney Flanigan and Talia Ryder aren’t just magnetic — they convey, often without words, what it means to have someone to really rely on.