On one side is a male chauvinist pig. On the other side is a hairy-legged feminist. In the middle is a $100,000 prize (and many more sponsorship dollars). The 1973 Battle of the Sexes tennis match between champs Bobby Riggs and Billie Jean King grabbed the attention of the nation, and now the full - slightly ridiculous - story can be told.
For 55-year-old publicity-hound Bobby Riggs (played here by Steve Carrell) the Battle of the Sexes was a great show; he saw it as a chance to come out of retirement while drawing some attention to the sport he loved. For 29-year-old Billie Jean King (Emma Stone) it wasn’t just a sideshow; it was a chance to bring respectability to the sport of women’s tennis and the opportunity to bring female athletes out of the shadow of their male counterparts.
LITTLE MISS SUNSHINE directors Jonathan Dayton and Valerie Ferris bring their trademark heart and humor to this real-life story, giving us a cast of strange, flawed and lovable people. Soaked in the polyester energy of the 1970s, BATTLE OF THE SEXES is a backhand volley of fun and excitement, a 40-year-old story that’s entirely relevant today.
Exploding from the pages of Vince Flynn’s best-selling thrillers, AMERICAN ASSASSIN is a high-octane political thriller with the highest stakes imaginable.
When Mitch Rapp’s (Dylan O’Brien, THE MAZE RUNNER) girlfriend is killed in a terrorist attack the new CIA recruit throws himself into his work more than ever, training with Cold War vet Stan Hurley (the legendary Michael Keaton) to hunt down the men responsible. But what they discover is more terrifying than they ever imagined - a legendary terrorist called The Ghost (Taylor Kitsch, FRIDAY NIGHT LIGHTS) who is looking to trigger World War III in the Middle East.
With its pulled-from-the-headlines situations and gritty, covert ops action, AMERICAN ASSASSIN is exactly the sort of edge-of-your seat thriller that gets your heart - and fists - pumping.
Stephen King knows what scares you, and IT was his magnum opus of chills. Director Andy Muschetti proved that he can present unsettling imagery in MAMA, and when teamed with King he brings our most intimate nightmares to life onscreen in a film that is guaranteed to frighten even the jaded horror hounds in the audience. Finally, one of the great modern horror stories gets the big screen treatment it deserves!
Ripping the facade off small town life, IT pits a group of 1980s junior high outcasts against an unspeakable child-killing evil that takes many forms, including the horrifying and unforgettable Pennywise the Dancing Clown. Too many modern horror films settle for jump scares and startling noises. IT brings the real terror, true skin-crawling tension and fright that will have you screaming in your seat… and then checking under your bed before you go to sleep.
Let’s be honest: a lot of Stephen King movies are duds. They miss the essential nature of the horror master’s best work, which parallels the most mundane stuff with unspeakable horrors. King’s monsters live not in a fantasy land but right here, on your street, in the broad daylight. IT gets that, and as a result it’s one of the best Stephen King adaptations ever made. No one understands the place where idyllic youthful innocence intersects with existential horror like Stephen King, and IT is as much a heart-wrenching story of the loss of innocence among a group of good friends as it is the tale of a shape-shifting, kid-killing entity.
Updated for modern audiences (the 1950s setting is now the 1980s), IT gives a new interpretation of one of horror’s most enduring modern icons - Pennywise. The TV miniseries version of IT gave us a Tim Curry interpretation of the child-murdering clown, and now in the movie version Bill Skarsgård gives us a whole new, wholly hair-raising take on this candy-colored creature. You think you’ve seen scary clowns? You ain’t seen nothing yet. And you’ll never look at an innocent red balloon the same way again.
On the outskirts of Brooklyn, Frankie, an aimless teenager, suffocates under the oppressive glare cast by his family and a toxic group of delinquent friends. Struggling with his own identity, Frankie begins to scour hookup sites for older men. When his chatting and webcamming intensify, he begins meeting men at a nearby cruising beach while simultaneously entering into a cautious relationship with a young woman. As Frankie struggles to reconcile his competing desires, his decisions leave him hurtling toward irreparable consequences. Eliza Hittman’s award-winning Sundance hit is a powerful character study that is as visually stunning as it is evocative.