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• Correspondent: Matt Dougherty
• Resume: Associate Editor at @hdmag. Freelance film and TV critic. The Clown Prince of all things editorial. Mutant and proud.
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Year=2019 92Min actor=Liam Neeson Liked It=350 Vote Genre=Romance. Ordinary love cast. I just love this  but wait a second i mean the guy on the keyboard did a great JOB too thumbs up for him. Ordinary love cover. Ordinary love sade. Ordinary love liam neeson.

 

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Ordinary love like. 'Ordinary Love (2019) is exactly what it says on the tin: a portrait of mundane, turbulent, beautiful love. It charts the journey of a couple moving through tough times and is as thoughtful and nuanced as you'd hope. Its story is rather straightforward (it's pretty much exactly what you'd expect) but it delivers what it needs to and feels all the more 'real' because of it. The focus of the film is something that isn't actually explored all that often and it's great to see it portrayed so sensitively here. The picture's grounded, non- romanticised' romance is brilliant, too. It feels as close to 'real' as possible, an honest and moving exploration of love that never seems heightened or false. The two stars deliver the goods in their subtle, harder-than-you-may-expect roles, coming together as a compelling pair of, essentially, real people. They have flaws and they argue but they also have an undeniable connection. When this is exploited, it's really heart-warming. When it comes down to it, though, the flick just isn't all that exciting or, perhaps, impactful. It's engaging enough and never even close to boring, but it doesn't quite hit home as hard as it ought to. It's good, don't get me wrong. I can't quite put into words what it is that it is, for me, missing. I guess I'll say it like this: it's good, but it's not great. 6/10.

Ordinary love preview. Ordinary love tonight show. Ordinary love live. Ordinary love video. Like the movie on Friday evening at cinema, after hard working week, nice to escape with something simple and touching. Liam Nesson is best in any role he plays. Ordinary love park kyung. Now with proper text capitalization. First up was The Jesus Rolls This should be a good idea. Jesus Quintana, you may recall, first appeared on screen in "The Big Lebowski, " one of the great Coen Brothers comedies. Now, John Turturro has created his own spin-off, "The Jesus Rolls, " with the permission of the Coens, and returned to his role of the Latino bowler who has converted himself into an artwork in his own honor. But there's something off here. The movie is based off of the 1974 French comedy "Going Places, " and as a result, it has the exact same flaws. It wants to be a kinky sex comedy, but keeps getting distracted by boring detours. It's a muddle in search of a rationale. The film is about two men on the road, going no place though they never stop moving. Jesus, who has just been released from prison, is the more aggressive of the two. Petey (Bobby Cannavale) seems the more resourceful, though he apparently enjoys being told what to do by his buddy. They share everything: stolen loot, hypochondria, boredom, women and, when there are no women, each other. They drift about endlessly in a series of stolen cars, the most expensive of which belongs to a hotshot hairdresser (John Hamm), who in a fit of rage shoots Petey in the one area where no man should ever be shot. The movie gets a kick out of his misery, but later retcons the event by way of intercourse. One would imagine the pain being unbearable, but who knows, maybe I just didn’t pay enough attention in health class. There is a lot of eroticism in the movie, and excessive attention to gynecological detail. Early on, Jesus and Petey are joined by a prostitute, Marie (Audrey Tautou), who comes along as a sort of sexual punching bag. Tautou projects a certain vulnerability that makes only some of the scenes work. But she also seems so impervious to ordinary mortal failings, so blasé in the face of the most outrageous sexual invention, that finally she just becomes a cartoon character. She later gives the pair her overwhelming gratitude when, by chance, they set up the circumstances that result in her achieving her first orgasm. Such is the nature of the film's sense of humor. Jesus for the most part floats benevolently above these small misunderstandings. When it comes to himself, he's a very understanding man. You'd think that John Turturro would know the character well enough to write a full feature around him, but there's no indication of what made Jesus funny in the first place. Yes, it is acknowledged that he's a great bowler, and he does indeed knock down some pins in one scene, but none of it concludes in any payoff, comedic or otherwise. The rest of the scenes don’t seem to, either. If he writes himself into a corner, then the scene will most likely end with a car being stolen or the characters performing an act of violence, not so much out of viciousness as out of impatience. And then, almost inexplicably, Susan Sarandon comes on screen in the middle of the movie as a woman who's just completed a 10-year stretch behind bars. They pick her up, determine to be kind to her, spend time with her, have lunch with her, make love with her, and she informs these scenes with a grace and dignity of her own. She gives it, briefly, the weight and direction the film otherwise lacks. But that doesn't last long, and it's immediately botched by her character's exit, which makes no sense on any level I can think of. Things don’t get much better once her son Jack (Pete Davidson) is taken into the trio. He enters and exits the movie just as aimlessly, and just as quickly, as Sarandon does. By the end, nothing much has happened, and we wonder what the point of it all is. Maybe the point is that the movie has no point. After some horrendous adventures that take them aimlessly from one end of town to the other, Jesus and Petey have clearly become the victims. They are the pursued, doomed like that mythical bird Tennessee Williams sometimes writes about, the one that must spend its entire life flying, since evolution has denied it landing gear. Regardless of how hazily written these guys are, Turturro and Cannavale are clearly having fun; they have a high old time in characterizations that seem composed less of attitudes taken from life than from old movies. Still, they aren't enough to save "The Jesus Rolls. " The movie's good performances and technical expertise can never disguise the vacuity of its empty plot. It's not very invigorating to see so much talent squandered on such foolish mixed-up romanticism. For me to have fun, to be entertained by a movie, I also have to be engaged, interested, provoked, maybe even challenged. If there's nothing to think about, nothing that even holds still long enough for me to get a good look at it, it's not much fun for me. I'd rather focus my attention on something else. Like something I can focus my attention on. next up was Sorry We Missed You Members of the working class are not blind to the world's darkness and pain. That is the major lesson to be taken away from "Sorry We Missed You, " Ken Loach's newest film which unfolds with the fascination of eavesdropping. We are waiting to see what these people will do next, caught up in the fear and the hope that they will bring the whole fragile network of their lives crashing down into ruins. When they prevail, when common sense and good hearts win over, we feel as if it had happened to ourselves. They peel off layers of self-protection, confess their problems, and after much shedding of tears, are stripped down to their true identities. The movie is about Ricky (Kris Hitchen), who has no education or professional training to speak of. Despite this, he is given an opportunity when he is hired to run a franchise as a self-employed delivery driver under the supervision of the tough Maloney (Ross Brewster). At the household, his wife Abbie (Debbie Honeywood) is a home care nurse who goes about life in her own very austere, quiet way. Both are working endless hours for unworthy positions because they've been in an upward struggle against debt. The stress of the new job proves to be great for Ricky. He is always under pressure to make his deliveries in time, and is fined if he is late or makes mistakes. Abbie also finds her work much more demanding without a car, and frequently feels upset by the lack of time she is allowed to spend with her patients due to her demanding schedule. The stress of both Ricky and Abbie is greatly increased by their son Seb (Rhys Stone) who both skips school and often gets into trouble with graffiti. Their daughter, Liza Jane (Katie Proctor) is a wistfully lost soul that worriedly watches over the family's discontent as it grows bigger day after day. Trying to vent about it is no help at all. If either of them get into a crummy situation while on the job, their bosses see it as a waste of company time, and just another fine to pinch away at their assets. The film's net is tightened at this point. "Sorry We Missed You" is one of those movies that sneaks up on the audience. For the first half hour or so, it kind of meandered, and I wondered what it was up to, but then I got hooked. It's not driven by a formula plot out of a textbook. It has the casual drift of real life, and you eventually begin to feel the same rage that the characters do. We all have those moments that make us want to talk back to our superiors, and give them a piece of our mind, yet there's always a resistance that prevents it. Indeed, this particular story has been told in such a way as to appeal to everybody. The movie is another one of Ken Loach's tales of working-class life. It is told in a regional British accent that's so thick it should be subtitled. (I understood most of it when I saw it without subtitles, but I have to say they would help). It is about depressing events, but its spirit is lively, and there's a decent amount of humor wedged here and there, like a spited argument between Ricky and a customer about his preference of sports teams. But everything else about this story unfolds beautifully, with a rueful, knowing intelligence that rises above easy assumptions. The audience is invited to watch the revealing ways in which these characters collide, which is mostly through feelings of chilling abandonment. It also happens to be an actor's field day. Ross Brewster, Debbie Honeywood, and the others are a joy to watch, both for the vigor of their performances and for the immense satisfaction they seem to have had in getting spontaneous freshness. The movie's ending also has a kind of nobility to it. Loach is too honest to believe in easy solutions, and knows better than to present their story as a mere case of bureaucratic injustice, even though it escalates into exactly that before it is over. His interest goes beyond the black-and-white outline of such a horrific situation, and into the harrowing gray reality. Though virtually nothing is said about politics, "Sorry We Missed You, " whether consciously or not, evokes a period of life when times are neither good or bad, and everything is shaped by routine. The family is sweet, means well, does the best they can given the values they have been raised with. They never quite understand how completely they are captives of a system that has no role for them. Abbie has an especially important line when she yells at Ricky's boss over the phone: "How do you get away with this? How does your company get away with treating people like this? " Wouldn’t we all like to know. the last one was Guns Akimbo I shouldn't like this movie. I have spent a long time, starting at birth and continuing until this very moment, evolving into the kind of person who could not possibly enjoy a movie like "Guns Akimbo, " and I like to think the effort was not in vain. It's smarmy, self aware, knows how ridiculous it is, and how much more ridiculous it can get. It doesn't try to waste any time with moments centered in reality, and instead uses its concept as a reason to fill the entire runtime with relentless action. But at the same time, in the midst of every single issue that can be raised about the film, it has a certain disarming charm. The movie's purpose and achievement would be hard to figure out on the basis of its own frontal assault. There exists a plot, hanging on for dear life while everything else is thrown directly at you. In an alternate near future, an underground fight club and a criminal organization known as Skizm has achieved massive popularity by live-streaming real death matches between criminals and psychos. Why? I dunno. Maybe for the same reason that people live-stream themselves going to the supermarket. They think that it somehow raises their cojones and gives them a reason in this world. Ordinary computer programmer Miles (Daniel Radcliffe), who gets his kicks by evoking online trolls, logs into Skizm's forum to insult viewers who turn murder into entertainment. Riktor (Ned Dennehy), the tattoo-faced criminal kingpin and psychopath who runs Skizm, breaks into Miles' apartment with his henchmen. After being beaten and drugged, Miles wakes up to find guns bloodily bolted into both of his hands. He learns via text that he has been forced to participate in Skizm by being pitted against Nix (Samara Weaving), the game’s ultimate champion. She has decided that she wants out, but not after defeating her last opponent. Nix tracks down Miles, who tries to explain his unwanted predicament, but she merely shoots up his apartment. It's not exactly the right day for these events to happen. Miles had planned a rendezvous with his artist ex-girlfriend Nova (Natasha Liu Bordizzo), a vixen of the type that in most movies is infinitely unattainable for nice guys like Miles. In the course of a day, he does his share of running, and there are various scenarios involving car crashes, face-offs with deadly thugs, and gunshots. Lots of gunshots. Floods of gunshots. "Guns Akimbo" is actually a fairly accurate title considering how frequently the trajectories of gunshots are created. There are certain aspects and loopholes to the storyline that deserve to be questioned. In logic so impenetrable that I would love to have somebody run it past me again, some officers on the police force are moles working for Riktor, and the regulars provide service by being completely absent whenever a disastrous motorcycle or car chase is paving its way across the streets. They obviously aren't too fond of a citizen who can't seem to put down his guns, but pay no attention to the countless other candidates of these death matches, who almost always decide to perform the brawls publicly. I suppose it's alright just as long as they have a license. Sometimes, you just can't bring yourself to care. I was really caught up in the movie's frenetic energy and the joyfully absurd way that it carried itself. It is violent, unrelenting, and fiendishly clever in certain areas. Daniel Radcliffe is the key. The movie wouldn't work with an actor who was heavy on his feet, or was too sincere about the material. Radcliffe is essentially an action comedian, who enters into violence with a bemused detachment. Here he has fun as the movie goes over the top. The film's director, Jason Lei Howden, has created a whole fictional universe that's as consistent and fascinating as Alice's Wonderland. Each action sequence is tightly packed while playing by and taking advantage of its own rules. The climax is set in a stock movie location I thought had been retired: A Steam and Flame Factory, where the combatants stalk each other on catwalks and from behind steel pillars, while the otherwise deserted factory supplies vast quantities of flame and steam. I am awarding "Guns Akimbo" for general goofiness and a certain level of insane genius, but I cannot in good conscience rate it higher than that. The movie is thoroughly constructed and paced, and it certainly sticks with its eccentric style, which emphasizes visceral thrills and hits the ground running. While the results are often messy and a little bit too selfish for their own good, there is no inherent inferiority here. To write it off at this point is to not give it a chance. While most filmmakers are content to plod their dreary way from one foregone conclusion to another, Howden is out there on the edge, joyously pulling off cockamamie stunts like this one.

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I love how Nipsey Hussle used this song as a sample for his song if you were mine. TORONTO, ONTARIO - SEPTEMBER 09: (L-R) René Besson, Brian J. Falconer, Lesley Manville, Lisa Barros D'Sa, Glenn Leyburn, David Holmes, and Piers Tempest attend the "Ordinary Love" premiere during the 2019 Toronto International Film Festival at Winter Garden Theatre on September 09, 2019 in Toronto, Canada. (Photo by Rodin Eckenroth/Getty Images) Are you ready for a love story for the ages? Ordinary Love is in theaters now, but will you be able to stream it on Amazon Prime Video? Liam Neeson and Lesley Manville star in Ordinary Love, which is anything but ordinary. While it’s out in theaters now, you may be waiting for the movie to head to a streaming service. Is Amazon Prime Video that streaming service? While it’s not possible to say for definite, it’s not likely that Ordinary Love will head to Amazon Prime Video. As a Bleeker Street movie, it’s more than likely to head to Hulu instead. This is where the likes of Brian Banks and other Bleeker Street movies have headed in the past. It’s going to take some time to head to streaming. You’ll get it on DVD and Blu-ray first, where you’ll also be able to buy or rent on Digital through Amazon Video. Ordinary Love is worth the wait. It is currently Certified Fresh with a 93% score from critics on Rotten Tomatoes. These ratings are based on the performance at the Toronto International Film Festival for the most part. It’s a heartwarming story of love and devotion. A couple has been married for decades, but when Joan is diagnosed with cancer, they both realize just how deep their love goes. Is this more than just an ordinary love? Not only does Tom have to help Joan through the diagnosis and treatment, but they need to have a serious conversation about what they will do should something happen to Joan. Check out the trailer for Ordinary Love: What do you think of Ordinary Love? What do you hope is coming to Amazon Prime Video? Share your thoughts in the comments below. Ordinary Love is out in theaters now.

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Liam Neeson and Lesley Manville are really great here. They really do carry this film. Since it is primarily focused on these two characters and pretty much no one else. Liam Neeson is really great here and it makes me wonder why he hasn't done more action films.
Overall it's a very simple told very effectively. It does have a lot emotion and it really does work especially the ending. But it's definitely worth watching.

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