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'Live' Review: Unveiling the destructive power of fake news and society's ethical decline

'Live', directed by VK Prakash, features a stellar cast including Mamta Mohandas, Soubin Shahir, Shine Tom Chacko, and Priya P Varrier. The film delves into the pervasive issue of fake news and its destructive potential in an individual's life. It aptly highlights the critical theme of how media, a significant aspect of society, can deviate from ethical practices, leading to the emergence of a callous collective.

'Live' revolves around the story of Anna, portrayed by Priya, who becomes an unfortunate victim of a media organisation and the ensuing societal backlash due to her involvement in a fabricated news incident. The film effectively portrays the adverse consequences an innocent person can face when ensnared in the web of false information. Mamta portrays the character of Dr Amala, who stands by Anna and puts in her utmost effort to assist both Anna and her grandfather. Shine takes on the role of Sam John Vagathanam, a media tycoon who closely resembles Shine's off-screen personality. While discussing the film's theme, it's worth mentioning that the believability of the actors' performances does have a slight impact on the overall experience. Some scenes lack logical coherence, leaving you questioning certain aspects. For instance, the movie establishes Mamta's character as a pediatric surgeon, yet when she meets Shine's character, he claims that his wife follows her social media content, implying that her medical advice works wonders for him. But remember, Mamta's character is a pediatric surgeon. It's a logical inconsistency that may strike you.

The first half of the movie grips you with its engrossing narrative, making you ponder how it would feel to become a victim of fake news and face potential ruin. Priya delivers a convincing performance as Anna, whose aspirations of becoming a doctor are shattered overnight. Mamta brings forth a convincing performance as Dr Amala, a character that embodies the essence of altruism and compassion in a society plagued by moral decay. Her portrayal showcases the resilience of good-hearted individuals who come to your aid when everything else seems to fall apart.

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However, the intensity and seriousness of the first half fail to transition effectively into the second half. The movie takes an unexpected turn, deviating from the initial tone. Additionally, the overall impact is hindered by lacklustre performances, particularly from Shine, whose lines lack clarity. A more compelling portrayal from him could have elevated the movie significantly. While Soubin's character doesn't have a substantial role in the film, he manages to deliver a decent performance within the limited screen time allotted to him.

While 'Live' addresses an undoubtedly relevant topic, as mentioned earlier, it falls short in its execution. The film seems to lack the necessary attention to detail, particularly in the development of the characters' arcs. However, considering the significant theme it presents, Live can still be considered a must-watch. It may not withstand close scrutiny regarding intricacies and logical coherence, but it remains a thought-provoking exploration of its central subject matter.

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Streaming services continued their dominant ascension with The Power of the Dog , Coda , and The Mitchells vs. the Machines all placing in the top 10 Best Movies overall of 2021. Streaming was also the place curious and adventurous viewers found worthy documentaries, covering topics ranging from classic rock ( The Velvet Underground) and folk tales ( Woodlands Dark and Days Bewitched ) to riots ( Attica ), athletics ( Changing the Game ), algorithms ( Coded Bias ), and politics ( Mayor ).

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Movie Review
Hayao Miyazaki’s The Boy and the Heron is a beautiful relic — and the end of an era

The latest Studio Ghibli film is out in North American theaters after premiering in Japan earlier in the year.

By Alicia Haddick

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A still image from the animated film The Boy and the Heron.

Note: this review was originally published in July to coincide with the film’s Japanese premiere. It has been updated and republished for the film’s wide release in North America on December 8th.

The year is 1997, and famed Studio Ghibli director Hayao Miyazaki announced plans to retire following the release of Princess Mononoke , a film that set new records at the box office for Japanese animation and revolutionized the medium. The year is 2001, and Miyazaki announced plans to retire following the release of Spirited Away, saying he can no longer work on feature-length animated films. The year is 2013, and Miyazaki announced plans to retire following the release of The Wind Rises , saying that “If I said I wanted to [make another feature film], I would sound like an old man saying something foolish.”

The year is 2023, and Miyazaki is an old man saying something foolish by releasing a new film, titled How Do You Live in Japan and renamed The Boy and the Heron for the international market.

Hayao Miyazaki is very convincing

The point is, it’s hard to say with any certainty whether this will truly be the moment when Hayao Miyazaki steps away from feature animation for good. He’ll likely never step away from animation entirely, directing a new short for the Ghibli Museum during his last retirement, Boro the Caterpillar . ( In June Studio Ghibli executive Junichi Nishioka said that Miyazaki was still working on new film ideas .) Until a few days before the Japanese premiere, it was also hard to say what this mysteriously titled final film would actually be about, following a bold PR strategy of, well, not doing any PR. Only a single poster for the film featuring a heron was released before its theatrical debut, without so much as press or preview screenings, trailers, screenshots, or even a synopsis.

A poster for Studio Ghibli’s How Do You Live.

Riding the train in the early hours of Friday morning to be one of the first to catch this all-new Miyazaki-directed feature film, The Boy and the Heron appeared to exist only as some mythical entity rather than a real film. In the absence of any news and in light of the single image’s striking repetitiveness, Japanese fans even resorted to creating memes of the bird, riffing on the name and the mystery surrounding it . Honestly, a part of me wondered if the whole thing was some trick, a ruse soon to be exposed to the world at last.

Another part wondered: if this film actually was real, what story would prompt Miyazaki out of his latest retirement? And how would I even discuss a film like this when even saying it exists could technically class as a spoiler?

I have that answer now. To give the minimal necessary introduction, the film opens during the firebombing of Tokyo in World War II, a hazy memory of the moment that young boy Mahito witnessed the death of his mother as the hospital she was in burned to the ground. The experience is seared in his mind like the erupting flames he witnessed, never truly moving on from the pain of this sudden loss. When Mahito joins his father to move out of Tokyo shortly after the war to live with his new (and already pregnant) partner in a large traditional home full of peculiarities — like a mysterious heron and an old abandoned stone building in the woods nearby — he struggles to accept this new situation.

These opening moments feel unsettling and heavy, especially in flashbacks, only briefly relieved by the kindly gaggle of old ladies at the home or the famed heron. While it embraces the fantastical as it takes us to a whole new world in pursuit of a far-from-normal heron’s promise that Mahito can see his mother once more (while continuing to search for his new mother who recently went missing), the weight of this opening lingers.

In these moments, it’s a rich, dense fantasy in the vein we’ve come to expect, both in terms of the detail visible in every scene and its greater thematic purpose. You may come to Spirited Away for its eclectic and intricate spiritual bathhouse, but you stay for the human story and deeper undertones at its core.

Continuing this comparison, you could even say these musings on the complexity of the human condition are emphasized by the 82-year-old Miyazaki with this final film, creating something that feels more autobiographical and self-reflective than The Wind Rises . For all that film was technically a biopic, it felt as much a reflection of the man behind the production as it was the master aviator at its center. While fantastical and family-friendly elements litter The Boy and the Heron , filling it to the brim with whimsy that lightens its heavy moments and brings endless charm to its stunning animation, the frank nature in which it explores Miyazaki’s self-reflective musings on memory makes it as much a conversation with the man in the mirror as it is the audience.

The question the film’s Japanese title poses lingers throughout the experience. How do you live? On the shoulders of those who came before you. After decades of defining the animation industry in Japan, Miyazaki has accepted his fate. This is ultimately a story about the hows and whys that define our memory, a recognition that no existence can live without building upon the inventions, experiences, and memories of those who came before us. A recognition that to move forward means to move on and let go of the past while keeping their memories and lessons close for the next person to carry that torch.

Makoto Shinkai wants Suzume to build a bridge of memory between generations
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The Boy and the Heron feels like a recognition by Miyazaki of his place as a relic in a modern animation industry that’s moved on without him. Studio Ghibli has firmly embedded itself within animation history and particularly Japanese culture, where movies like My Neighbor Totoro and Kiki’s Delivery Service feel like rights of passage for Japanese children even before we discuss the park or museum or the copious merchandising. People who don’t watch anime or look down on animation as some childish toy likely still know and love at least one Ghibli film. Totoro was a character in Toy Story 3 !

Yet it’s also been 10 years since Miyazaki released his last film and nine years since Ghibli’s final feature, When Marnie Was There . For all the media at one point seemed determined to anoint the so-called “next Miyazaki,” only the spiritual successor made up of former veterans of Ghibli, Studio Ponoc, ever attempted to directly emulate the distinct visual and narrative playbook of the famed studio. Mary and the Witch’s Flower released to moderate success in 2017, but notably, the first trailer for the studio’s new project The Imaginary premiered before this screening with a visual and thematic approach that serves as a distinct departure.

The anime landscape today is defined by a different director: Makoto Shinkai . Films like Five Centimeters Per Second , Your Name, and Suzume , with their intense post-processing over highly realistic environments telling stories about love and distance through the imagery of fantasy and science fiction, are nonetheless impressive but are very distinct from the works of Ghibli in their own, more modern style. In recent years, with the success of Shinkai’s works, the comparisons have stopped. You can’t be the next Miyazaki when you’ve already eclipsed the man you’re being compared to.

When it’s not Shinkai or one of his many imitators, recognizable franchises reign stronger than ever. Anime has always relied on adaptations of other mediums, but the shift from historically lower gross for such films as mere fan service to the blockbusters of today showcases a stark difference. Last year, One Piece Film RED grossed almost 20 billion yen in Japan , making it one of the top 10 highest-grossing films of all time and placing it above Howl’s Moving Castle and all but two of Miyazaki’s works. The First Slam Dunk has similarly been breaking records and topped the box office for eight consecutive weeks upon release. And let’s not forget the monster 2020 success of Demon Slayer: Mugen Train , whose 40 billion yen domestic gross demolished Spirited Away ’s record of the highest-grossing film of all time in Japan .

Merchandise for Oscar-winning animator Hayao Miyazaki’s latest film, titled in English “How Do You Live?” is displayed for sale at a cinema on the first day of the film’s premiere in Tokyo on July 14, 2023.

The point is, we don’t see films like this being made anymore, for better and for worse. There’s no glee or joy in discussing Miyazaki’s fading stardom. Indeed, with The Boy and the Heron , Miyazaki has produced one of his best films to date, a mature metafictional tale in a friendlier facade about memory and moving on from the past while carrying their precious experiences on their shoulders.

Yet the industry has moved on. This film feels thematically and visually like a lost piece of mid-2000s Ghibli media resurfaced from a vault and thrown onto cinema screens. No less impressive, but a piece of the past carried on the shoulders of those who built it, tossed into the world more to remember what we lost than to build upon what we have today. You could argue there’s irony in making a film about letting go and moving forward when a director can’t follow through with his desire to walk away, but maybe that’s why this movie had to be made.

We don’t see films like this being made anymore, for better and for worse

Honestly, so moved and impressed I was by this movie, I’d love for him to betray its message and come back, just one more time. The creative well underneath Miyazaki remains full, and I’m sure he could create another 10 films and still have new ideas to explore. We’ve barely scratched the surface of his bottomless talent.

In the movie’s first act, Mahito finds an old copy of How Do You Live? , the children’s book that inspired the film’s Japanese title. The title page is signed by his mother with a message of how much he’s grown. He breaks down in tears. The adventure which follows proves that she was right, and the book stays with him throughout, another memory passed down for him to bear.

Just as Mahito needs to accept the loss of his mother, leaving that cinema on Friday morning felt like closing the book on an era of animation history we’ll never get back. The items passed on to Mahito by the characters in this fantasy world are ways to remember his adventure and reconnection to his mother, just as we can always rewatch these films. And remember we must, as it’s only by passing these memories down that they can live on long after the people behind them are gone.

Miyazaki has accepted his time has come and gone, and this is his plea to be remembered by the next generation. With this understanding, everything from the film’s complex yet thematically resonant story to particularly its non-existent promotional campaign made sense. Releasing a film without a single trailer, screenshot, or even synopsis feels like career suicide, a sure chance a film will fail. It’s a strategy that could only succeed at the hands of a studio and director who earned respect like these two. In turn, this campaign is a final plea from Miyazaki to the public who admire him and his work.

Memories only outlive us by sharing them with others, ensuring they won’t be forgotten with our passing. Similarly, if we want this era of animation to be remembered for generations to come, the onus is on us as an audience to champion its voice and share it with others. Ghibli and Miyazaki already have their place in history. If The Boy and the Heron is to join it, we have to want to pass it on, hold it close, and carry it with us.

And, after all that, move forward.

The Boy and the Heron is in theaters on December 8th .

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‘To Live, to Die, to Live Again’ Review: Gaël Morel’s ’90s-Set AIDS Drama Seems a Throwback Before Pointing to a Brighter Future

A bisexual Parisian binds two lovers in an unconventional family unit before tragedy looms in this unfashionable but effective tearjerker.

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Reviewed at Cannes Film Festival (Cannes Premiere), May 20, 2024. Running time: 109 MIN. (Original title: "Vivre, Mourir, Renaître")

Production: (France) An ARP Sélection production in co-production with Arte France Cinéma. (World sales: Goodfellas, Paris.) Producers: Michèle Pétin, Laurent Pétin.
Crew: Director, screenplay: Gaël Morel. Camera: David Chambille. Editor: Catherine Schwartz.
With: Victor Belmondo, Lou Lampros, Théo Christine, Hélyos Johnson, Jonathan Hounwanou-Kakon, Elli Medeiros, Sophie Guillemin, Stéphane Rideau, Amanda Lear. (French dialogue)

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‘To Live’: A Sweeping Saga of Modern China : Movie review: Zhang Yimou’s superb film possesses both vast scope and intimacy, richness of incident and an awareness of the quixotic role fate plays in all our destinies.

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Zhang Yimou’s masterful, stirring “To Live” takes us from the turbulent, treacherous China of the ‘40s civil war to the brutal Cultural Revolution and beyond through the lives of one couple, who in the course of hardship and tragedy emerge as symbolic of the ordinary Chinese and their capacity to endure and to hope for a better future.

Based on Yu Hua’s “Lifetimes,” the superb “To Live” is fortunately more absorbing than grueling--and it is indeed the latter. It possesses both vast scope and intimacy, humor and sorrow, complex characterizations, richness of incident and an awareness of the quixotic role fate plays in all our destinies.

It is the latest triumph of China’s most renowned filmmaker, whose 1988 debut feature, “Red Sorghum,” won international acclaim and whose “Ju Dou” (1990) and “Raise the Red Lantern” (1992) received Oscar nominations for best foreign film. In adapting his own novel to the screen, Yu Hua’s co-writer was Lu Wei, who also wrote the screenplay for Chen Kaige’s towering “Farewell My Concubine.”

In a small village in Northern China an indolent young man, Xu Fugui (Ge You), gambles away his family’s fortune to the extent that he loses his family’s ancient, magnificent townhouse. The man (Ni Dahong) to whom Fugui lost his ancestral home refuses to lend him money but lends him something that proves to be of far greater value: an old chest filled with his shadow puppets--the one thing that diverted Fugui during his gambling days.

He has a real aptitude for putting on puppet shows with these lacy figures; more than once the puppets, so suggestive of the human predicament, will prove to be his salvation and that of his family.

Fugui’s beautiful wife, Jiazhen (Gong Li), dreams modestly of living a quiet life with her family but almost immediately the Communists win control of the country. From here on the couple’s life will be hard, blighted by terrible tragedy yet also sustained by their steadfast mutual love and devotion, and by warm camaraderie of friends and neighbors.

By now what many mainstream Chinese have had to endure under Communism is common knowledge around the world, yet “To Live’s” forthright depictions of the hardships and sacrifices incurred by the revolution itself, the Great Leap Forward in industrial production in the ‘50s and the horrors of the Cultural Revolution of the mid-’60s to the mid-’70s, have brought down the wrath of the Chinese government upon Zhang and his film.

As punishment for Zhang illegally distributing his picture, he has been forbidden to make films in China with foreign financing for the next two years, and he and Gong Li, the radiant star of all his films, may not present or discuss in any context their film, which earlier this year won the grand jury prize at Cannes and a best actor award for Ge You.

The cruel irony of this banishment is that the epic vision of “To Live” moves beyond the critical to the historical; it celebrates all people at anytime, anyplace, who persist in the face of cataclysmic social, political and economic upheaval.

It is also notably fair-minded; you could easily make a case that the advent of communism was the instrument of Fugui’s salvation, turning him from a totally irresponsible archetypal representative of the decadent ruling class into a proletarian hero, a strong and responsible husband and father in the face of grim adversity and loss. Similarly, the man (Niu Ben) who becomes the leader of the new Communist system in Fugui’s village is a wise, kind individual, a practical man and not a knee-jerk political ideologue.

However, Zhang does not shy away from the horrors of the crazed Cultural Revolution with its cadres of hysterical young people raging through the streets, pursuing their savage inquisition. Yet in the film’s most stunning sequence, Zhang expresses the absurdity of this long ordeal by injecting dark humor in a tragic situation.

When a young woman in childbirth starts hemorrhaging, student nurses do not know what to do because the hospital’s professional staff has been carted off to a concentration camp. A frail doctor (Zhao Yuxiu) is in the last moment sprung from captivity, but he’s so weak from beatings and starvation that his oddly comical nonstop gorging on dumplings makes him too sick to attend to the woman.

“To Live,” which has been gloriously photographed by Lu Ye, is a remarkable accomplishment, spanning many years with both vibrant passion and absolute conviction. It is the most straightforward of all of Zhang’s films, and its simplicity of style serves perfectly its great themes, which are timeless and universal.

* MPAA rating: Unrated. Times guidelines: considerable realistic violence, too intense and harrowing for children.

(BEGIN TEXT OF INFOBOX / INFOGRAPHIC)

Ge You: Fugui Gong Li: Jiazhen Niu Ben: Town Chief Niu Guo Tao: Chunsheng A Samuel Goldwyn Co. and ERA International (Hong Kong) Ltd. presentation in association with Shanghai Film Studios. Director Zhang Yimou. Producer Chiu Fusheng. Executive producers Christopher Tseng, Kow Fuhong. Screenplay by Yu Hua and Lu Wei; based on the novel “Lifetimes” by Yu Hua. Cinematographer Lu Yue. Editor Du Yuan. Costumes Dong Huamiao. Music Zhao Jiping. Art director Cao Jiuping. In Mandarin, with English subtitles. Running time: 2 hours, 13 minutes.

* In limited release at the Monica 4-Plex, 1332 2nd St., Santa Monica, (310) 394-9741; Sunset 5, 8000 Sunset Blvd., West Hollywood, (213) 848-3500; and the Westside Pavilion, Pico Boulevard between Overland Avenue and Westwood Boulevard, West Los Angeles, (310) 475-0202.

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Live movie review: A Malayalam film on sensationalism and media trial that fails to strike the right chord

Despite its potential with a plot that remains relevant, malayalam film live fails to deliver a compelling movie experience due to its weak screenplay..

On August 30, 2007, Live India, a television news channel, aired a “sting operation” projecting a Delhi government schoolteacher running a prostitution racket. The broadcast triggered a disturbing chain of events, as a mob subjected the teacher to severe abuse, assault, and public humiliation. Swiftly arrested and subsequently terminated from her job by the Delhi government, she faced an uphill battle. However, a subsequent police investigation uncovered the operation’s fabrication, leading a Delhi court to absolve her. Seeking justice, she proceeded to file a defamation lawsuit against the channel and its then CEO and editor, Sudhir Chaudhary. As a consequence, the Ministry of Information and Broadcasting (I&B) imposed a one-month ban on the channel in September of the same year.

In May 2008, a Delhi city court granted Chaudhary bail after he furnished a surety and a personal bond, News18 reported. Later that year, as per a report by TOI, the teacher withdrew her defamation complaint against the news channel and its CEO after reaching a settlement. Chaudhary subsequently expressed his view that the reporter responsible for the investigation was untrustworthy and characterised the person as a “criminal” who had breached his trust. A report by DNA from 2013 quoted Chaudhary as telling IANS, “The reporter kept me in the dark and breached the trust. He is a criminal and a hazard for journalism.” However, this situation raised two important questions: whether the media can still be trusted, and if individual reporters are solely to blame, why do news organisations employ highly paid top editors?

Despite the incident being 15 years in the past, media outlets still face ongoing scrutiny for their alleged propagation of falsehoods and cosying up to those in power. In the midst of this environment, a new Malayalam film titled Live has emerged, seeking to address pressing themes such as sensationalism, the phenomenon of media trial, and society’s inclination to blindly accept anything it encounters online, often leading to hasty judgements and initiating witch hunts against the presumed “guilty”.

Helmed by National Award-winning director VK Prakash and produced by Darrpan Bangejaa and Nitin Kumar, Live features an ensemble cast comprising Mamta Mohandas, Soubin Shahir, Shine Tom Chacko, and Priya Prakash Varrier among others.

Set in Kochi in 2018, the movie opens with Sriram (Soubin Shahir) standing on the terrace of his apartment complex, burning some items. We are then introduced to his wife, Amala Sriram (Mamta Mohandas), a respected pediatric surgeon at a government hospital. Amala is known for her selfless acts, particularly during the devastating Kerala floods. However, she is currently being cyberstalked by an unknown person. Despite Amala’s attempts to seek help from her husband, it becomes evident that he doesn’t care about her predicament. Fortunately, Amala has supportive female friends who stand by her side unconditionally. Unfortunately, none of them can take action as the police and even Amala herself fail to identify the harasser.

Meanwhile, Amala’s dear friend Anna (Priya Prakash Varrier), a student preparing for medical entrance exams, becomes falsely accused of involvement in a sex racket. Although the police clear Anna of any wrongdoing, a TV news channel called Mandaram, owned by Sam John Vakathanam (Shine Tom Chacko), begins running stories targeting Anna in order to boost their viewership ratings. As Mandaram spreads the story, other news outlets and YouTube channels follow suit, making it nearly impossible for Anna to leave her house. Despite Amala and her friends’ efforts to assist Anna and her grandfather Kuruvachan (Jayraj Kozhikode), the news organisations refuse to back down.

The remainder of the film focuses on their attempts to prove Anna’s innocence amidst the destructive forces of sensationalism and media trials that threaten to ruin her life.

Despite its potential with a plot that remains relevant, Live fails to deliver a compelling movie experience due to its weak screenplay. The script, written by S Suresh Babu, known for his work on films such as Dada Sahib (2000), Shikkar (2010), and Kanal (2015), lacks the ability to create impactful moments. The film misses opportunities to evoke strong emotions in viewers, leaving them disconnected. Additionally, the portrayal of certain characters making light references to the names of individuals who have suffered due to casteism, such as Madhu, is highly problematic and unforgivable. Writers who are unable to handle such sensitive issues with justice should refrain from addressing them, as failing to do so may perpetuate casteist sentiments and provoke rightful criticism.

While VK Prakash has garnered acclaim for his impressive and meticulously crafted films like Nirnayakam (2015), Punaradhivasam (2000), Natholi Oru Cheriya Meenalla (2013), and Moonnamathoral (2006), it is important to acknowledge his tendency to produce highly disappointing movies such as Silence (2013), Poppins (2012), Three Kings (2011), and Gulumaal: The Escape (2009). Live, on the other hand, falls somewhere in between these two categories, leaning slightly towards the side of his subpar works. The film, in a sense, reflects Prakash’s evident lack of effort as a director.

Meanwhile, the performances by Mamta Mohandas and Soubin Shahir in the film are inadequate and fail to make an impact. Mamta, despite making occasional attempts to portray Amala convincingly, falls short due to poorly delivered dialogue and a seeming lack of trust or understanding of the character. While Soubin’s performance in Live is an improvement compared to his extremely disappointing portrayals in films like CBI 5: The Brain (2022) and Jack N’ Jill (2022), his acting remains below average, considering his talent as an actor.

In contrast, Shine Tom Chacko appears to be trapped in a peculiar cycle of self-imitation. The same irritating persona that is evident in his real-life interviews and has been previously seen in films like Christopher (2023) is replicated here as well. It’s important for him to realise that not all characters need to be excessively exaggerated to be annoying. He could take a cue from Thilakan’s portrayal of the antagonist in the 1986 film Namukku Parkkan Munthirithoppukal to understand this. If VK Prakash’s intention in casting Shine Tom was to ensure that viewers feel repulsed by the character Sam John, then the director has indeed succeeded. However, Shine should make an effort to approach each character differently and deliver a performance that aligns with their nature, rather than forcefully imposing his quirks and traits onto them.

On the other hand, Jayraj Kozhikode and, surprisingly, Priya Prakash Varrier deliver commendable performances as the distressed Kuruvachan and the shattered Anna, respectively.

It is deeply disappointing to see the wasted potential of a talented cinematographer like Nikhil S Praveen in this film, as it fails to offer anything beyond what is already written in the script. The only aspects deserving of commendation in this movie are the costumes by Adithya Nanu and the makeup by Rajesh Nenmara.

In short, Live joins the ranks of other Malayalam films that, despite attempting to tackle a socially relevant subject, fail to grasp its true purpose.

Live movie cast: Mamta Mohandas, Soubin Shahir, Shine Tom Chacko, Priya Prakash Varrier Live movie director: VK Prakash Live movie rating: 2 stars

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Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at [email protected]. ... Read More

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Live is life, common sense media reviewers.

Bullying, drinking in engaging coming-of-age dramedy.

A Lot or a Little?

What you will—and won't—find in this movie.

Coming-of-age movie uses structure of "hero's jour

While rough around the edges, the five young teens

Movie shows five teens growing up in Spanish count

Bullying. A lead character and his friend sprint a

First kisses. Brief nudity (male buttocks) when sw

Strong language throughout. "F--k" often used. Als

Characters drink from a Coca-Cola bottle.

Teens walk past heroin addicts shooting up, some p

Positive Messages

Coming-of-age movie uses structure of "hero's journey" to explore importance of taking risks in life. Friendship.

Positive Role Models

While rough around the edges, the five young teens look out for each other, display acts of courage that go beyond the usual coming-of-age moments (first kisses, asserting individuality, etc.).

Diverse Representations

Movie shows five teens growing up in Spanish countryside during a mid-1980s summer. One teen is dying of cancer, another is struggling because his father has been in a coma after an accident.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Bullying. A lead character and his friend sprint away from a group of bullies who pursue them through streets and alleys of a large city. Later, he is bullied by teens on motorcycles who run him off the road on his bike until he falls into the lake below. Later, lead character and his friends fight back, including throwing a boomerang at one of their heads; bloody head wound. The bullies later respond by shooting a rifle at them, throwing their bikes into a lake. Fistfight at a party.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

First kisses. Brief nudity (male buttocks) when swim trunks are pulled down while the lead characters are swimming.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Strong language throughout. "F--k" often used. Also "a--hole," "s--theads," "chickens--t," "bulls--t," "d--k," "pr--ks," "bastards." Middle-finger gesture.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Teens walk past heroin addicts shooting up, some passed out with needles in their arms, one thought to be dead. Teens break into a vacant vacation home and loot the liquor cabinet -- pass around a bottle of whiskey and smoke cigars. Beer drinking at teen party. Adults smoke cigarettes, drink wine.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Live Is Life is a 2022 Spanish coming-of-age dramedy. This "hero's journey" centers on five teens in the Spanish countryside searching for, among other things, a flower that they believe will save one of the boys who's dying of cancer as well as the father of another of the boys, who has been in a coma after an accident. Expect bullying: The lead character and a friend run through a large city at the end of the last day of school with several teens pursuing them. Later, the lead character is run off the road and into a lake while on his bicycle by a gang of teens on motorcycles. The lead characters and these bullies later face off in skirmishes throughout the movie, including moments where one of the bullies fires a rifle at them, bikes get thrown in the lake, and the main characters retaliate by hitting a teen in the head with a boomerang (some blood shown). Teens get into a fistfight at a party. The lead characters encounter heroin addicts shooting up, shown passed out and seemingly dead with needles in their arms. Teens sneak into a vacant vacation home, raid the liquor cabinet, and take turns drinking whiskey while smoking cigars. Adults smoke cigarettes and drink wine, and there's drinking at a teen party. Strong language throughout includes "f--k." The film also features first kisses, as well as brief nudity (male buttocks) when swim trunks are pulled down while the lead characters are swimming. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In LIVE IS LIFE, Rodri (Adrián Baena) is a young teen who, once the last day of school has ended, leaves the big city with his family to spend the summer in the countryside with his grandparents. Like previous summers, he also will be spending his days with his best friends -- Garriga, the twins Alvaro and Maza, and Suso. The day after Rodri returns, on Midsummer's Eve, these five decide to go on an adventure in which they ride their bikes into the mountains in the hopes of finding the rare flower that they believe will cure Alvaro's terminal cancer and bring Suso's father back from the coma he has been in. Along the way, the teens get into skirmishes with a gang of teen bullies on motorcycles, sneak into vacant vacation homes, and confront the fact that they're growing up. While their adventure takes them to an epic party hosted by Garriga's dream girl, they also get more than they bargained for after riding through a down-and-out part of the region. As they search for the flower, Rodri and his friends learn the importance of taking risks in life as they try to navigate the first challenges of getting older.

Is It Any Good?

This is an engaging coming-of-age dramedy with enough story and acting talent to overcome the familiar aspects of this "hero's journey." Live Is Life tells the story of five young teens in the Spanish countryside who are spending one last summer together. They go on a quest of sorts, and what separates this movie from so many others with a similar story is that this happens to be a very good one.

For instance: While it's set in the mid-1980s, there's a refreshingly light touch to the nostalgia. Unlike other period movies or shows that rely too heavily on abundant pop culture references to see us through ( Stranger Things , cough cough), Live Is Life -- aside from the mullet haircuts of the bullying teens, infrequent pop songs from that time, and an ironic prophecy of a future where there will be wireless phones that also function as computers -- focuses more on the story and evolving relationships among these five teens. There's nothing groundbreaking about the use of this genre (coming-of-age) and form (hero's journey) here, but what matters most is how effectively the filmmakers use these to tell a good story. In that context, this works.

Talk to Your Kids About ...

Families can talk about how Live Is Life is a coming-of-age movie. How is this similar to and different from other movies about growing up that you've seen?

This movie is based on a book. What challenges do you think people face when adapting a book into a movie? Are movies like these usually better or worse than the books on which they are based?

Like Star Wars: Episode IV -- A New Hope , this movie mirrors the structure of the " hero's journey ." How does it fit that structure? What are some other movies, books, and classic stories that follow this structure?

Movie Details

On DVD or streaming : July 18, 2022
Cast : Adrián Baena , Juan del Pozo , David Rodriguez
Director : Dani de la Torre
Studio : Netflix
Genre : Drama
Topics : Adventures , Brothers and Sisters , Friendship , High School
Run time : 109 minutes
MPAA rating : NR
Last updated : February 17, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Across continents and decades, 'Past Lives' is the most affecting love story in ages

Justin Chang

Teo Yoo and Greta Lee star as Hae Sung and Nora, childhood sweethearts who reconnect decades later in Past Lives. A24 hide caption

Teo Yoo and Greta Lee star as Hae Sung and Nora, childhood sweethearts who reconnect decades later in Past Lives.

Past Lives opens with a shot of three people sitting at a bar in New York — a man and a woman, both of Asian descent, chat with each other, while another man, who's white, looks silently on. We hear some people watchers offscreen casually wonder how these three are connected — are the Asian duo a couple, or are they siblings? Or is the white guy the Asian woman's boyfriend?

It's a nicely sardonic entry point into a story that's rooted in the writer-director Celine Song's personal experience. By the end of this exquisitely thoughtful and moving film, we've come to know and care deeply about all three of her characters, who are far more complicated than a snap judgment can convey.

Main Character of the Day

Greta lee on her new film's exploration of language and identity.

After that prologue, the movie flashes back 24 years to when the two Asian leads were young classmates in Seoul, South Korea. The girl is named Na Young, and the boy is named Hae Sung. They're close friends, practically childhood sweethearts, but everything is about to change: Na Young and her family are immigrating to Canada, and she and a quietly heartbroken Hae Sung lose contact.

Twelve years pass. Na Young — now going by Nora, and played by Greta Lee — is a 24-year-old aspiring playwright in Toronto. Hae Sung, played by Teo Yoo, is an engineering student in Seoul. They reconnect by chance on Facebook and are soon spending hours video-chatting on Skype: Even though they haven't talked in more than a decade, the old bond is still there, maybe stronger than ever. But realizing that her renewed friendship with Hae Sung is distracting her from her life in Toronto, Nora decides they should cool it for a while.

It'll be another 12 years before they talk again, and by the time they do, Nora is living in New York and married to a fellow writer named Arthur — and yes, he's the white guy from the opening scene, played by John Magaro. One day Hae Sung tells Nora that he's coming to New York for a visit and would like to see her, sparking a conversation in which Arthur says, "the guy flew 13 hours to be here. I'm not going to tell you that you can't see him or something."

Greta Lee, John Magaro, Teo Yoo in Past Lives. A24 hide caption

Nora and Hae Sung do meet a few times, visiting the Brooklyn Bridge and riding a ferry boat around the Statue of Liberty — a resonant image for this immigrant story. Their mix of sightseeing and soul-searching might remind you at times of Richard Linklater 's Before trilogy, another talky, decades-spanning, continent-jumping love story.

Past Lives is both achingly romantic and earnestly philosophical. More than once Nora and Hae Sung use the Korean term inyun , a Buddhist-derived concept which suggests that every meeting between two souls is the product of countless interactions or near-interactions in their past lives. They muse about what might have happened if Nora — if Na Young — had stayed in Korea. Maybe she and Hae Sung would have gotten married. Or maybe not; maybe it's only because she left that their feelings for each other are so powerful now.

The two leads are wonderful. Greta Lee, from the series Russian Doll , reveals Nora's uncertainty but also her strength. She hints at both the confidence Nora's gained from her life as a successful artist and the identity confusion she sometimes experiences living in the West.

Teo Yoo is quietly heartbreaking as the more reserved Hae Sung, who's faced personal and professional disappointment back in Seoul and clearly longs for something with Nora that can probably never be. And the emotional stakes kick up several notches when Nora and Hae Sung go out one night with Arthur, bringing us to back to that scene in the bar. Magaro plays Arthur as a bit of a goofball, but also as a decent, understanding guy who at one point amusingly refers to himself as "the evil white American husband standing in the way of destiny."

'Platonic' is more full-circle friendship than love triangle, and it's better that way

What makes Past Lives so moving in the end is the grace that all three of these characters extend to one another in an awkward situation with no heroes or villains. You've seen the more conventional romantic-triangle version of this story, but Song isn't after melodrama; she wants us to see what's keeping Nora and Hae Sung apart, but also what's binding them, possibly for eternity.

Past Lives , which compresses two decades into barely two hours, is the most affecting love story I've seen in ages. It ends with a curiously hopeful image, focused less on the characters' past regrets and more on the infinite possibilities still ahead.

Borderlands - Exclusive First Look (2024) Cate Blanchett, Jack Black, Kevin Hart | IGN Live 2024

Check out this exclusive first look at the upcoming video game movie adaptation, Borderlands!

Directed by Eli Roth, Borderlands is based on the video games created by Gearbox Software and published by 2K. The film stars Cate Blanchett, Kevin Hart, Jack Black, Edgar Ramírez, Ariana Greenblatt, Florian Munteanu, Gina Gershon, and Jamie Lee Curtis.

Lilith (Blanchett), an infamous treasure hunter with a mysterious past, reluctantly returns to her home planet of Pandora to find the missing daughter of Atlas (Ramírez), the universe’s most powerful S.O.B. She forms an unexpected alliance with a ragtag team of misfits – Roland (Hart), once a highly respected soldier, but now desperate for redemption; Tiny Tina (Greenblatt), a feral pre-teen demolitionist; Krieg (Munteanu), Tina’s musclebound, rhetorically challenged protector; Tannis (Curtis), the scientist who’s seen it all; and Claptrap (Black), a persistently wiseass robot.

These unlikely heroes must battle alien monsters and dangerous bandits to find and protect the missing girl, who may hold the key to unimaginable power. The fate of the universe could be in their hands – but they’ll be fighting for something more: each other.

Lionsgate presents, in association with Media Capital Technologies, an Arad / Picturestart production, a Gearbox Studios / 2K production. Lionsgate will release Borderlands in the US and UK on August 9, 2024.

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‘Furiosa: A Mad Max Saga’ Review: A Lonely Avenger

The fifth installment of George Miller’s series delivers an origin story of Furiosa, the hard-bitten driver played here by Anya Taylor-Joy.

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‘Furiosa’ | Anatomy of a Scene

The director george miller narrates a sequence from his film featuring anya taylor-joy and tom burke..

Hello, I’m George Miller, director of “Furiosa.” At this point in the movie, we’ve got Furiosa played by Anya Taylor-Joy and we’ve got Praetorian Jack played by Tom Burke arriving at Bullet Farm, where they’re meant to pick up all these munitions and weapons for this battle. However, when they get to the Bullet Farm, there’s something weird going on. When they see the dog with a foot in its mouth, they realize that that’s Dementus’s dog. And they know at that moment that Dementus has somehow taken over the Bullet Farm. She just gets out in time, and the other car that came in with them gets basically cut in half by this massive steel portcullis. And that shot was a very difficult shot to do. Anya had to do that 180 degree turn. The portcullis came down. But to pull the timing of her turn and the portcullis coming down and crushing the other car was very, very difficult to do. [GUNSHOT] So there’s a certain part of this sequence which has no music because the music would be redundant, so it’s not scored. The score only arises when it informs what’s happening between our two main characters. They have to respond in the moment like all Warriors do, and get out of this situation. And in the process we find them relinquishing their own self interest. One for the other. What follows is that through their actions, not their words and their promises to each other, but through their actions that they actually are prepared to give of themselves entirely to the other. [ENGINE RUMBLE] So in a way, it’s kind of a love story in the middle of an action scene. That’s always at the heart of every action sequence. It’s not all the kinetics and the sound of it. It’s all about an interaction of characters. It’s character driven and it’s the interplay between the characters that we’re most interested in.

By Manohla Dargis

Dystopia has rarely looked as grim and felt as exhilarating as it has in George Miller’s “Mad Max” cycle. For decades, Miller has been wowing viewers with hallucinatory images of a ravaged, violent world that looks enough like ours to generate shivers of recognition. Yet however familiar his alternative universe can seem — feel — his filmmaking creates such a strong contact high that it’s always been easy to simply bliss out on the sheer spectacle of it all. Apocalypse? Cool!

The thing is, it has started to feel less cool just because in the years since the original “Mad Max” opened in 1979, the distance between Miller’s scorched earth and ours has narrowed. Set “a few years from now,” the first film tracks Max Rockatansky (Mel Gibson), a highway patrol cop who has a semblance of a normal life with a wife and kid. That things are about to go to hell for Max is obvious in the opening shot of a sign for the Hall of Justice, an entry that evokes the gate at Auschwitz (“Work Sets You Free”). You may have flinched if you made that association, but whatever qualms you had were soon swept away by the ensuing chases and crashes, the gunning engines and mad laughter.

Miller’s latest and fifth movie in the cycle, “Furiosa: A Mad Max Saga,” is primarily an origin story that recounts the life and brutal, dehumanizing times of the young Furiosa (Anya Taylor-Joy), the hard-bitten rig driver played by Charlize Theron in the last film, “ Mad Max: Fury Road ” (2015). Miller’s magnum opus, “Fury Road” is at once the apotheosis of his cinematic genius — it’s one of the great movies of the last decade — and a departure narratively and tonally from the previous films. In “Fury,” Max still serves as the nominal headliner (with Tom Hardy taking over for Gibson), but the movie’s dramatic and emotional weight rests on Furiosa, her quest and her hopes.

As befits a creation story, “Furiosa” tracks Furiosa from childhood to young adulthood, a downward spiral that takes her from freedom to captivity and, in time, circumscribed sovereignty. It opens with the 10-year-old Furiosa (Alyla Browne) foraging in a forest close to a paradisiacal outpost called the Green Place of Many Mothers. Just as she’s reaching for an amusingly, metaphorically ripe peach, her idyll is cut short by a gang of snaggletooth, hygiene-challenged bikers. They’re soon rocketing across the desert with Furiosa tied up on one of their bikes, with her mother (Charlee Fraser) and another woman in pursuit on horseback, a chase that presages the fight for power and bodies which follows.

The chase grows exponentially tenser as Miller begins shifting between close-ups and expansive long shots, the raucous noise and energy of the kidnappers on their hell machines working contrapuntally against the desert’s stillness. While the scene’s arid landscape conjures up past “Mad Max” adventures, the buttes and the galloping horse evoke the classic westerns from which this series has drawn some of its mythopoetic force. Max has often seemed like a Hollywood gunslinger (or samurai) transplanted into Miller’s feverish imagination with some notes from Joseph Campbell. The minute Furiosa starts gnawing on her captor’s fuel line, though, Miller makes it clear that this wee captive is no damsel in distress.

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How to watch the Oilers vs Panthers Game 1 live stream

The Edmonton Oilers and Florida Panthers are set to clash in the 2024 Stanley Cup finals. Edmonton hasn’t raised the Cup since 1990, while Florida is looking to break through for the first time in franchise history after coming up short in the finals last year.

Watch the Oilers vs Panthers Game 1 Live Stream on Sling TV

Is there a free oilers vs panthers game 1 live stream, watch the oilers vs panthers game 1 on espn+, watch the oilers vs panthers game 1 live stream from abroad.

The 2024 Stanley Cup finals are about to begin, with Game 1 starting very soon, at 8:00 p.m. ET. It will be televised in the United States on ABC. But if you don’t have cable and are looking for ways to stream the NHL playoffs , we have a bunch of different options for watching a live stream of the Oilers vs Panthers.

Sling TV includes ABC, but only in a few select markets ( Sling TV ABC markets ). However, if you do live in one of those markets, then Sling becomes an excellent option if you’re looking for an inexpensive long-term solution. You’ll want to go with the “ Sling Blue ” channel package for ABC, and that will cost you only $20 for your first month ($40 per month after that).

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ESPN+ will also stream the Stanley Cup finals, and it’s cheaper. But with Sling, you’ll also be able to stream the NBA playoffs (all of the finals games are also on ABC), which you can’t do on ESPN+.

If you don’t live in one of the markets that carries ABC on Sling, or if you’re looking for an option with a free trial, then there are three choices: Fubo (“Pro” channel package), YouTube TV (“Base Plan”) or DirecTV Stream (“Entertainment” channel package or above).

All three of these streaming services include ABC in most markets in the United States. Because of that, and because they have larger channel packages, they are more expensive long-term options than Sling. However, they also all come with a free trial. The Fubo free trial is seven days, while YouTube TV and DirecTV Stream are each five, which should be enough to get you through the entire series (June 8 through June 24 at the latest) without paying anything.

Without counting free trials, ESPN+ is the cheapest way to watch the Stanley Cup finals. It will stream every game of the series, and it costs just $11 per month or $110 for the year. Sling and the other options offer more in terms of more live TV, but if you’re only interested in watching the Oilers vs Panthers, and you’ve used up the free trials we just mentioned in the previous section, then this is certainly the way to go.

You can use a virtual private network (VPN) to hide your IP address/location and connect to a server in the United States. This is useful because it makes it seem as though you’re physically in the US, which allows you to access content–such as all the aforementioned live-TV streaming services–that’s only available there. As such, if you’re in another country, you can still watch a live stream of the game.

NordVPN is at the top of our list of the best VPN services . It doesn’t have a typical free trial, as you’ll need to pay up front, but it does offer a 30-day money-back guarantee, which essentially acts like a free trial.

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Looking to become just the second MLS team in history to win the CONCACAF Champions Cup, the Columbus Crew make a bid at immortality when they take on Liga MX side Pachuca in the 2024 final tonight at Estadio Hidalgo.

Pachuca vs Columbus is about to start, at 9:15 p.m. ET/6:15 p.m. PT, and in the U.S. it will be televised on Fox Sports 1 (English) and TUDN (Spanish). Unlike MLS games, where you need MLS Season Pass to watch, there are a handful of different ways you can watch a live stream of Pachuca vs Columbus. Watch the Pachuca vs Columbus Live Stream on Sling TV

Just one victory away from eternal glory, Borussia Dortmund and Real Madrid clash in the 2024 Champions League Final today at Wembley Stadium. While the German outfit are looking to hoist their first Champions League trophy since 1997, Madrid have an opportunity to win an astounding ninth title over that same timespan.

The Champions League Final is about to start, at 3:00 p.m. ET, and will be televised on CBS in the United States. However, if you don't have cable and want to watch the Champions League final online, we have five different ways you can stream Dortmund vs Real Madrid for free. Is There a Free Dortmund vs Real Madrid Live Stream?

Two of the most powerful punchers in the heavyweight division are squaring off this weekend. Deontay Wilder (43-3-1, 42 KOs) and Zhilei Zhang (26-2, 21 KOs) will face off in the headlining match of this weekend's '5v5' PPV on DAZN. Both fighters are coming off losses to the same opponent: Joseph Parker. It's a crossroads fight for both them. Two losses in a row would likely keep either of them from a meaningful shot at a title anytime soon. Wilder is 38 and Zhang is 41, so it wouldn't be surprising if the loser announced his retirement.

Wilder vs Zhang is the final match of the 5v5 PPV event, which starts today at 2:00 p.m. ET on DAZN. It's a $70 PPV. Keep reading for everything you need to know to watch boxing online this weekend.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, live and let die.

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"Live and Let Die" is the ninth James Bond picture, and not exactly the best. It has all the necessary girls, gimmicks, subterranean control rooms, uniformed goons and magic wristwatches it can hold, but it doesn't have the wit and it doesn't have the style of the best Bond movies.

This may have something to do with the substitution of Roger Moore for Sean Connery as 007. Moore has the superficial attributes for the job: The urbanity, the quizzically raised eyebrow, the calm under fire and in bed. But Connery was always able to invest the role with a certain humor, a sense of its ridiculousness. Moore has been supplied with a lot of double entendres and double takes, but he doesn't seem to get the joke.

The plot this time begins in the usual way, with the disappearance of what are inevitably described as "three of our best men." One died in New York, one in New Orleans (during a funeral that turned out, alas, to be his own) and one in the Caribbean. Needless to say, a string of coincidences link the murders and they seem to lead to Mr. Big. Mr. Big is played, I guess, by Yaphet Kotto . I have to guess because either I wasn't listening or it was never quite explained whether Kotto was fronting for Big or was really Big all along and just pretended to front for him. Not that it matters; the movie doesn't have a Bond villain worthy of the Goldfingers, Dr. Nos and Oddjobs of the past.

The bad guys, indeed, are a little banal. In the past, Bond has conquered evil scientists bent on enslaving the world. He has broken up a scheme to destroy our space satellites with laser beams. He has, let's see, saved the dollar by protecting our gold supply (something the current administration is less successful at). That's big-time stuff. But this time, all the bad guys are doing is growing a billion dollars worth of heroin in order to take over the illegal dope industry from the mob. (They're black, but the movie's ads mercifully refrain from promising they've got a plan to stick it to the man, maybe out of deference to Bond's British origins. This is, after all, Discover America summer.)

There are a few elements every Bond movie absolutely must have, and "Live and Let Die" has them. It opens, of course, with a meeting with M and the faithful Miss Moneypenny. It has Bond arriving at the Caribbean hideout by man-bearing kite. It has a spectacular chase (this one involves speedboats, but isn't as much fun as the great ski chase two Bonds ago). It has a spectacularly destroyed villain (he swallows a capsule of compressed air and explodes). It has the girls. And it has Bond exhibiting his mastery of the better things in life by asking room service for a bottle of Bollinger - not cold, but "slightly chilled," please.

And it does, to give it credit, have the one basic Bond scene that always seems copied from the previous Bond movie: The penetration of the underground citadel. This scene always begins with Bond pressing a bidden lever or discovering the secret door. Then there's a shot of a vast underground cavern, which is filled with uniformed functionaries who hurry about on mysterious scientific errands.

Bond slips unobserved from one hiding place to another; is discovered; eludes his pursuers; watches as six hired goons hurry past; and then goes through another door and unexpectedly finds the villain waiting there for him. The dialog here is always the same, something like "Come in, Mr. Bond, we've been expecting you . . ." And then . . . but do you get the same notion I do, that after nine of these we've just about had enough?

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film Credits

Live and Let Die (1973)

121 minutes

Roger Moore as James Bond

Jane Seymour as Solitaire

Clifton James as Pepper

Geoffrey Holder as Samedi

Directed by

Guy Hamilton

Produced by

Harry Saltzman
Albert Broccoli

Screenplay by

Tom Mankiewicz
Linda McCartney

Photographed by

Based on the novel by.

Ian Fleming

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Max is the one to watch for HBO, hit series, films, reality, sports, and more. It’s all here. Iconic series, award-winning movies, fresh originals, and family favorites, featuring the DC Universe and HBO. Discover the best entertainment for every mood. Max – the one to watch. Subscribe now! With Max you'll get: • Unlimited access to thousands of TV shows and movies. • A deep library of brands and studios like HBO, the Wizarding World, HGTV, TLC, Magnolia Network, Food Network, and Adult Swim. • The largest streaming library of the DC Universe shows and movies. • Hundreds of original series from HBO and Max. • CNN Max, a 24/7 live feed featuring breaking news and coverage of the world’s biggest stories. Now available in beta to all Max subscribers — at no additional cost. • Stream select live games and matches from the NBA, NHL, NCAA March Madness, MLB Postseason, and U.S. Soccer with the B/R Sports Add-On, on us for a limited time.* • Award-winning shows and movies that everyone's talking about like the HBO Original series The Last of Us, Succession, The White Lotus, House of the Dragon, and more. • Iconic favorite TV shows like Friends, South Park, Rick and Morty, 90-Day Fiancé, Fixer Upper, Beat Bobby Flay, House Hunters, Sesame Street, Looney Tunes, and more. • Family-friendly entertainment for the whole household. • Fascinating documentaries and unscripted series. • Enjoy your favorite shows and movies at home or on-the-go. Max is available on TV, web browser, mobile, tablet, and gaming console devices. Features: • Browse or search with ease across HBO, movies, series, genres, and brands. • Download shows and movies you love to watch on-the-go with select plans. (Download limits vary by subscription plan.) • Personalized profiles for the entire family with customizable ratings, profile PIN protection, and kid-proof exit. • Pick up episodes and movies where you left off across your favorite devices. • Keep up with everything you love, all in one place with My Stuff. • Watch on multiple devices at the same time. (Limits vary by subscription plan.) • Stream with high quality video and surround sound on select plans. Content and feature availability on Max may vary by region. Some titles and features shown above may not be available in your country. Your subscription will automatically renew at the then-current price of your plan unless auto-renew is turned off at least 24 hours before the renewal. Your App Store account will automatically be charged at the same price for renewal within 24 hours prior to the end of the current subscription period. You can manage or cancel your subscription by visiting the App Store app or Subscriptions under Settings on your Apple device after purchase. *Pricing and availability of the B/R Sports Add-On after the promotional period will vary by subscription provider.™/© 2024 MLB Purposes disclosed in the App Privacy label may vary based on features or services that may not be available in all regions. Max is only available in certain territories. Terms of Use: https://max.com/terms-of-use/

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Whether you’re looking for the latest can’t-miss dramas, comedies, or reality hits, Max has something for everyone. Watch HBO Original series like Succession, The Last of Us, The White Lotus, and Love & Death. Revisit classics like Friends, South Park, and The Big Bang Theory. And enjoy unscripted treats from Discovery like Fixer Upper, MythBusters, Dr. Pimple Popper, Deadliest Catch, and Diners, Drive-Ins and Dives.

The new “Max” needs work

As of writing this, a couple days after HBO Max became “Max,” I need to state that this new app / change needs a lot of work. After I launched the app on my cell phone & on my TV, a Roku device, the first issue that appeared was my “Continue Watching” no longer had shows I was watching & listed movies that I had finished watching & removed from my list. When I searched for the show I was watching, it was not appearing but when I searched for them on my Roku device, it read the show was on “Max” & when I selected it, it led me to the show on the streaming service. The inconsistency is the first issue. The second & biggest is the audio is out of sync on my shows. There is at least a 5 second delay with the audio when I was able to begin watching my show. The out of sync is also with the searching & selecting process itself. This new version needs a lot of refining. Update: thank you for the response to my review, I troubleshooted the app on all my devices & followed the link provided & it did fix the issue I was experiencing.

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Hi Rey, we appreciate you taking the time to rate and review. We have some great troubleshooting steps here that should improve your experience: https://help.max.com/troubleshoot. If those don't work, please reach out to us at help.max.com/AppReview for additional support. - Max Support

Phone to TV Casting Flaw

Great options of shows & movies to watch however I have multiple problems when streaming from my phone to my TV. One, once I connect to TV it does not let me operate the rewind & pause from my phone like it typically should. Also it does not let me use subtitles at all when casting to TV which is very frustrating when I am hard of hearing. The tool menu pops up at the bottom of the app but no matter how many times I press subtitles on, or press pause, or rewind, it does not work. Sometimes the tool menu even pops up with no buttons AT ALL & I cannot control the movie. flawed and frustrating. I have no control over the movie or show I am watching, cannot pause, rewind, fast forward, or turn subtitles on. Also once I have streamed no matter how many times I close the app or turn my TV off & on it does not stop streaming, even after the app has been removed from my open & live section on my phone it is some how streaming in the background?? And for HOURS. I played a show around 11am then turned my TV off & removed the app from my open list then at 10pm I turn my tv on & re-open MAX & it immediately streams the same exact movie from 12hours ago?? Why did the movie not close from the lower tool bar & have the app reset like it should. Multiple problems of this app not resetting properly. Very unhappy & horrible change.

Hi, we're happy to help. We have some great troubleshooting steps here that should improve your experience: itsh.bo/troubleshoot-mobile. You also may want to try restarting your network (modem and router) if you haven't yet. If those don't work, please reach out to us at help.max.com for additional support. Thanks! Max Support

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They Live
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To Live movie review & film summary (1994)
To Live. "To Live" is a simple title, but it conceals a universe. The film follows the life of one family in China, from the heady days of gambling dens in the 1940s to the austere hardship of the Cultural Revolution in the 1960s. And through all of their fierce struggles with fate, all of the political twists and turns they endure, their hope ...
How I Live Now movie review & film summary (2013)
So the fact that his latest film, "How I Live Now," adapted from a novel by Meg Rosoff, is about a band of teens and children in the British countryside trying to stay alive after London gets hit by a nuclear explosion bodes well for the quality of the film. And indeed, for much of its running time the movie is grab-you-by-the-back-of-the-neck ...
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The movie aptly highlights the critical theme of how media, a significant aspect of society, can deviate from ethical practices, leading to the.live. live movie. live review. live movie review. mamta mohandas. soubin shahir. shine tom chacko. malayalam movie
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They Live Movie Review
Our review: Parents say Not yet rated Rate movie. Kids say ( 8 ): As campy as it is satirical, this movie stands the test of time -- it's wildly entertaining and worthy of being called a B-movie classic. The fun of They Live is that it manages to work both as a clever sci-fi lampooning of consumer culture and materialistic yuppies and as a ...
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Zhang Yimou's masterful, stirring "To Live" takes us from the turbulent, treacherous China of the '40s civil war to the brutal Cultural Revolution and beyond through the lives of one couple, who ...
Live movie review: A Malayalam film on sensationalism and media trial
Live movie review: A Malayalam film on sensationalism and media trial that fails to strike the right chord Despite its potential with a plot that remains relevant, Malayalam film Live fails to deliver a compelling movie experience due to its weak screenplay. Rating: 2 out of 5.
Live by Night movie review & film summary (2017)
Whatever faults you may find in his other three films, they had momentum, especially nail-biting works like " The Town " and "Argo." "Live by Night" is almost stunningly momentum-less. It often plods from plot point to plot point. Some scenes go on far too long, especially in the final act when Affleck is trying to wring emotion ...
Live Is Life Movie Review
Our review: Parents say: Not yet rated Rate movie. Kids say: Not yet rated Rate movie. This is an engaging coming-of-age dramedy with enough story and acting talent to overcome the familiar aspects of this "hero's journey." Live Is Life tells the story of five young teens in the Spanish countryside who are spending one last summer together.
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A film review on Friday about "Live by Night," which Ben Affleck stars in and directed, misstated the number of features Mr. Affleck previously directed. It is three, not two.
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Inside Out 2 (2024)
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Mulan movie review & film summary (2020)
The regal and fierce Xianniang has her number early on, and when they finally meet each other for battle, she wisely tells Mulan: "Your deceit weakens you. It poisons your qi.". There's a bit of a Darth Vader-Luke Skywalker, love-hate dynamic to this showdown, but the underlying truth of that statement resonates.
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Thirty years after Nicole Brown Simpson's murder, and a few months after O.J. Simpson's death, Lifetime revisits "the trial of the century" with "The Life & Murder of Nicole Brown ...
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Live and Let Die movie review (1973)
Live and Let Die. "Live and Let Die" is the ninth James Bond picture, and not exactly the best. It has all the necessary girls, gimmicks, subterranean control rooms, uniformed goons and magic wristwatches it can hold, but it doesn't have the wit and it doesn't have the style of the best Bond movies. This may have something to do with the ...
Max: Stream HBO, TV, & Movies 12+
Max is available on TV, web browser, mobile, tablet, and gaming console devices. Features: • Browse or search with ease across HBO, movies, series, genres, and brands. • Download shows and movies you love to watch on-the-go with select plans. (Download limits vary by subscription plan.) • Personalized profiles for the entire family with ...