I Dream of Jeannie Complete Series DVD and the top new realease dvd online stores right now? The darkness is all-consuming, as is despair over a lost past and future, and a purgatorial present, in Vitalina Varela, Pedro Costa’s aesthetically ravishing true tale of its protagonist, a Cape Verde resident who returns to Portugal mere days after her estranged husband’s death. Vitalina wanders through this dilapidated and gloomy environment, which Costa shoots almost exclusively at night, the better to conjure a sense of ghosts navigating a dreamscape of sorrow, suffering and disconnection. Each of the director’s images is more ravishing than the next, and their beauty – along with an enveloping soundscape of squeaking beds, sheets blowing in the wind, and rain pattering on crumbling roofs – is enchanting. Presenting its story through fractured plotting and dreamy monologues, the Portuguese master’s latest is a series of tableaus of lovelorn grief concerning not only Vitalina but also an aged priest in spiritual crisis and another young man poised to endure his own tragedy. The film’s formal grandeur – its compositional precision, and painterly interplay of light and dark – is overwhelming, as is the majestic presence of Vitalina herself.

All 29 episodes of the original groundbreaking seasons. All 18 parts of the Limited Event Series the return to Twin Peaks that captivated audiences 25 years later, written by the series co-creators and entirely directed by David Lynch. A wealth of intriguing, behind-the-scenes special features. So grab a cup of coffee, a slice of cherry pie, and experience the legendary mystery… again and again! Read extra info at https://www.dvdshelf.com.au/buy-dvd-in-australia/twin-peaks-the-television-collection/.

Disciplined in its approach and unapologetic about its contrivances, Ben Affleck’s basketball coach in crisis drama The Way Back is a sports movie that understands the fundamentals. What it lacks in flashiness or ingenuity — the underdog narrative of a crappy team hitting its stride under the leadership of a gruff coach hits all the requisite Hoosiers notes — it makes up for with an oddly enthralling downbeat craftsmanship. Little details, like the freeze-frame when the scores of games pop up on screen or the click-clack percussion-heavy music, accumulate emotional power over the film’s brisk runtime. Playing a washed-up ex-athlete with an immediately apparent drinking problem and a number of strategically hidden personal demons, Affleck delivers a weary performance that resonates with his off-screen persona (and his recent tabloid headlines) in ways both obvious and surprising. In brief stretches, director Gavin O’Connor, who helmed the similarly intense melodramas Miracle and Warrior, pulls off the ultimate sports movie trick of making you believe the character’s redemption isn’t inevitable. Every win is a battle — even if you know the results going in.

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.

“Handsome, clever and rich” is how Emma’s tagline describes its matchmaking heroine (Anya Taylor-Joy), but it’s also an apt summation of director Autumn de Wilde’s Jane Austen adaptation, which is energized by meticulous style, spirited wit and passionate emotions. Hewing closely to its source material, the film charts Emma Woodhouse’s efforts to find a suitor for her doting companion Harriet Smith (Mia Goth) while struggling with her own blossoming feelings for her sister’s brother-in-law, George Knightley (Johnny Flynn). Round and round the romantic entanglements go, not only for these three characters but a host of others that de Wilde and screenwriter Eleanor Catton faithfully delineate in clean, bright brushstrokes. Its studied imagery suggesting a daintier variation on Wes Anderson’s trademark visuals, Emma boasts an aesthetic confidence that’s matched by its performers. At the head of that impressive pack (which also includes Bill Nighy) is Taylor-Joy, whose Emma exudes just the right amount of playful cockiness and ambition – qualities ultimately undercut by her realization that no amount of manipulations can change what the heart wants. Find more details at https://www.dvdshelf.com.au/..

At first blush it’s easy to dismiss Birds of Prey. But this feverish spectacle directed by Cathy Yan and scripted by Christina Hodson is a triumph that takes the typically limp superhero genre and injects it with life and bravado as it traces Harley Quinn’s (played by a brilliant Margot Robbie) emancipation from the shadow of her relationship to the Joker. What could have been a trifle turns out to be a rich reimagining of Gotham City into a glittery haven for criminals like Ewan McGregor’s prancing Black Mask and his right hand, Victor Zsasz (Chris Messina stealthily turning in one of the best performances in the film), who are nipping at Harley’s heels over a lost diamond. The plot is besides the point. What matters is the visceral experience. The costume design by Erin Benach is iconoclastic, drenching Harley in a confetti-and-caution-tape aesthetic. The supporting actors give surprisingly realized turns, especially Mary Elizabeth Winstead as the awkward but committed assassin Huntress on a mission of vengeance, and Jurnee Smollett-Bell’s high-kicking fearsome Black Canary. What makes the film sing at the right register of pleasure is its commitment to crafting some of the most audacious, eye-catching, and bone-crunching action set pieces that brim with humor and complication thanks to stunt coordination and fight choreography by Chad Stahelski. We got to see the film four times in theaters before all of this happened, and with each viewing our hearts burst with more appreciation for this scrappy, wild, bombastic film.