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I’d just be happy to have some. I know I have shared this concept before but it does seem to me that you should get to KEEP money as least as long as it take you to MAKE it. It is a cinematic time capsule and unintentionally shows just how far America’s LGBT community has come since its release. James’ one big line in the movie? “James is my name, flaming’s my game. . The Leatherman. The Cowboy. The Indian. The Police Office r. I remember thinking they were kinda’ “hot” in 1980. Last night? They looked like bad sitcom caricatures of gay men. I mean, Glenn the Leatherman’s big line in the movie? “Leathermen aren’t supposed to cry. . Did ANYONE in 1980 actually think those six poof-tahs in the Village People could possibly be straight. You look like a bad girl group, prancing around on stage, probably opening for someone like Miley Cyrus. But last night, sitting watching that movie with my legally-wed husband and our best friends that have been partnered for like a zillion years, well, I was reminded how far gays and lesbians have come in my lifetime. And while The G.

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As he attempts to stall and open back-channel negotiations to Allied powers, the clock runs out and his grip over government apparatus is wrested from him. Meanwhile, separated from his family during forced relocations, Elek Cohen (Jonas Armstrong) escapes and reconnects with Hannah Schoen (Hannah Tointon), a young girl whom he met at a dancehall some months earlier. With the help of Hannah’s uncle, Miklos (Simon Dutton), Elek starts forging Swiss citizenship documents. When a colleague is pinched by the Nazis, however, matters escalate further. Walking With the Enemy has just enough scale to give its narrative roots. Its characterizations are crisp and clear, and there’s an appreciable sturdiness to its screenplay, by Kenny Golde. It has dramatic incidents aplenty, which give it girders. But it also elicits plenty of rich, corresponding thought and feeling by way of glancingly showcasing the cracks in the Nazi propaganda machine (falsified postcards from those sent away to concentration camps), and the way that misinformation and especially the lack of concrete information slowly seeds doubt, worry and, eventually, action. — Brent Simon. The effort sheds new light and understanding on a dark chapter in American history. —Tom Meek. In Saeed Taji Farouky and Michael McEvoy’s documentary Tell Spring Not to Come This Year, which spends a year in Afghanistan’s Helmand province with a company of the Afghan National Army as American troops prepare to withdraw, this seems especially true. Fighting continues between factions in a stunning ancient landscape dotted with the ruins of recent conflict, and the domestic soldiers now responsible for holding the fort harbor resentment, for their former American occupiers and their own politicians, convinced their country has been used for somebody’s personal gain. There’s a palpable melancholy to the film and its subjects, as though all are only too aware that the rest of the world has by the point of filming largely lost interest in their story and turned to focus on news elsewhere—even though these men, as we see in some fine battle photography of the ANA’s ongoing fight with the Taliban, remain in a hopeless position. —Brogan Morris. A prison break movie that soon morphs into an epic travelogue, The Way Back displays a bountiful variety of scenery, as a disparate group of POWs and political undesirables escapes from a Soviet gulag to trek 4,000 miles across Asia, from ice-blanketed Siberia through dusty Mongolia and on to lush India, the final destination getting always further away as the group discover how far the tyrannical communism they flee has spread. It’s one of Weir’s less remarkable films, but even Weir in a minor key is still compelling entertainment, and as usual he casts to a T: the top-drawer ensemble includes Ed Harris as a grizzly American engineer, Saoirse Ronan as a Polish stray who joins the escapees on their pilgrimage and, best of all, a wonderfully scuzzy Colin Farrell as a feral Russian gangster who’s spent so long imprisoned he hasn’t a clue what to do with freedom. —Brogan Morris. Nothing at home happens with action-packed aplomb (though the director sets up tense red herrings to lure the audience into a sense of unease), and yet the stakes are painfully real. Pedersen did the only thing he knew to do, yet in saving his unit he may have sacrificed his family’s well-being.

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