The Tribeca Festival excised “Film” from its name in 2021, and while it’s true that the annual celebration of all things entertainment has expanded to include plenty of television and immersive programming, the movies make it a must-attend event. This year’s lineup is no exception. It has big-name actors such as Michael Shannon and Jennifer Esposito trying their hand at directing, along with revelatory performances from stars like Nick Jonas. But what makes Tribeca so exciting is that it’s a springboard for bold new voices keep your eyes on So Young Shelly Yo, making her feature directorial debut. As the fest gets ready to kick off on June 7, here are nine movies not to be missed. FIRST TIME FEMALE DIRECTOR Chelsea Peretti, who stole scenes as the social media-obsessed assistant on “Brooklyn Nine-Nine,” slides behind the camera for this comedy about a writer who is forced to take over a production of her latest play after her male predecessor is fired for inappropriate behavior. Peretti doesn’t just direct the movie — she also wrote, produced and stars in it. THE GOOD HALF The buzz is that Nick Jonas reminds viewers that he’s a compelling actor when not selling out arenas. In “The Good Half,” he plays a man who travels home to Cleveland for his mother’s funeral. There, friends, family members and a hoarder priest help him come to terms with his past. The film, which is directed by Robert Schwartzman, is one of the hotter titles looking for distribution. ERIC LARUE Michael Shannon makes his directorial debut with this drama about Janice, a woman whose son murders three high school classmates. Judy Greer gives a standout performance as the emotionally shattered mother. Given the relentless number of school shootings and violence, it’s a story that sounds all too relevant. FRESH KILLS Jennifer Esposito wrote, directed, produced and stars in this mean-streets saga, which examines mob life from the perspective of the women behind the gangsters. Set on Staten Island in the late ’80s and early ’90s, the movie chronicles three female members of the extended Larusso crime family after their world is turned upside down. Think Scorsese with a feminist twist. ROCK HUDSON ALL THAT HEAVEN ALLOWED He was one of the biggest stars in the world, a heartthrob who seemed the embodiment of all-American heterosexuality. But Rock Hudson was secretly gay. This documentary from Stephen Kijak examines the chasm between public image and private man, and also explores an important chapter of Hollywood’s LGBTQ history. SONGS ABOUT FUCKING “Songs About Fucking” is one of the feel-great films of the festival. It’s the story of Marc Rebillet, a musician who went viral thanks to his hilarious lyrics, then parlayed that into studio albums and a passionate following. Filmmaker James Gallagher gives audiences a taste of what makes Rebillet a high-wire performer, following him on a sold-out tour in which no two concerts are the same. THE PERFECT FIND Numa Perrier follows her 2019 feature debut “Jezebel” with this rom-com about a fashion editor Gabrielle Union who makes the leap to a digital magazine. Problems ensue when she falls for Eric Keith Powers, who is the son of her boss and frenemy. This meet-cute is based on Tia Williams’ award-winning novel. HAPPY CLOTHES A FILM ABOUT PATRICIA FIELD From Carrie Bradshaw’s opening-credits tutu the one that gets splashed by a passing bus in “Sex and the City” to the head-to-toe Chanel that completes Anne Hathaway’s metamorphosis in “The Devil Wears Prada,” Patricia Field has crafted some of the screen’s most memorable fashion moments. This documentary is an intimate look at the legendary costume designer. SMOKING TIGERS This coming-of-age story follows a 16-year-old girl who is torn between her wealthy friends and her low-income family life. It’s the feature directorial debut of So Young Shelly Yo, who received a $1 million grant from Tribeca and AT&T to finish producing her film.

Image Paramount Pictures Rise of the Beasts was a new chance to make the Transformers look great on screen, but… The Maximals and Optimus Primal get the same visually noisy approach as everyone else By Jun 6, 2023, 801am EDT In terms of quality, Transformers has the lowest batting average of any modern movie franchise, a record that stays firmly intact thanks to Rise of the Beasts. Where Michael Bay’s five yes, five entries in the franchise are all visual soup splashed across the screen, the latest installment — helmed by Creed II’s Steven Caple Jr. — similarly defies comprehensibility, albeit for slightly different reasons. To some extent, each shot is a little more neatly composed. But they’re all strung together with the barest visual and narrative connective tissue, resulting in a baffling film that feels strange not only for a modern blockbuster, but for a Transformers movie as well. Based on the Beast Wars line of comics, games, toys, and TV shows, the seventh entry in the exhaustive saga begins with a lengthy prologue about a planet-devouring Transformer, Unicron Colman Domingo, forcing a number of animal-themed Transformers, the Maximals, off their Earth-like home world. Before their planet is destroyed, an ape, a cheetah, and a falcon Transformer manage to steal the latest in a series of plot-driving artifacts related to the Transformers’ home world of Cybertron. This time, it’s called the “Trans Warp Key,” though its function is similar to that of at least two previous series McGuffins It opens up a giant portal in the sky. Even before the plot kicks off, this supposed franchise relaunch is already in firmly familiar territory, a trend that continues for a significant chunk of its 127 minutes. It’s a tale as old as time A human character stumbles upon a group of Transformers that includes Optimus Prime Peter Cullen and Bumblebee voiceless yet again, and gets roped into their battle with an evil faction, which inevitably involves a race for a piece of Transformers tech that has the power to destroy the world. Image Paramount Pictures The year is 1994, signified largely by numerous references to Mario, Sonic the Hedgehog, and several other era-specific video games, plus an clip of Simpson’s murder trial in progress. There are also a few hip-hop bangers on the soundtrack, courtesy of Notorious and Wu-Tang Clan. If there’s one thing the film gets mostly right while setting the stage, it’s the aural introduction to mid-’90s Brooklyn, even though a couple of these tracks are mildly anachronistic, appearing a few years before their real-world release. Still, the film’s soundtrack is in the right ballpark, which makes for an energetic introduction to ex-military tech expert Noah Diaz Hamilton’s Anthony Ramos, his single mother Luna Lauren Vélez, and his ailing younger brother Dean Scott Vazquez. While the characters themselves feel real, from their working-class plight to their interpersonal banter, little in the world around them feels specific to a period that was nearly 30 years ago. I’m sorry, I feel it too. The costumes and production design are bland, uninspired, and contemporary enough that the film feels accidentally timeless, though the purpose behind setting it in the ’90s appears to be logistical. In franchise terms, Rise of the Beasts is a sequel to 2018’s Bumblebee, which was set in 1987, and which director Travis Knight ensured was the only visually decipherable movie in this series. The Autobots still retain their busy designs from the Bay films, but this entry very much continues to rewrite their bizarre continuity. Alas, we must once again settle for a world in which Harriet Tubman never teamed up with transforming cars. But Bumblebee may as well not exist in this continuity either, since the Transformers are all back to square one at the top of this story, hiding in plain sight as usual, until they’re discovered for both the first and somehow seventh time. Photo Jonathan Wenk/Paramount Pictures This time around, the mute Bumblebee isn’t the primary human companion — it’s a chatterbox blue-gray Porsche named Mirage, who Noah steals to pay for his brother’s medical bills. Mirage, unlike most of the Bay-formers, has the advantage of a recognizably human face, à la the Transformers cartoons, but he has the disadvantage of being voiced by Saturday Night Live’s Pete Davidson, who’s cast primarily for his proclivity for detached snark. That includes him speaking a line that sounds awfully close to Star Wars The Rise of Skywalker’s infamous “They fly now?!” Even though there have been flying Transformers since the franchise’s first iteration back in the 1980s. Mirage’s banter lands about 10% of the time, and is excruciatingly juvenile for the other 90. There’s also a subplot about museum intern Elena Wallace Judas and the Black Messiah’s Dominique Fishback, who deserves better discovering half of the Trans Warp Key and beginning to follow a trail of archaeological breadcrumbs to find the other half. But her investigation amounts to little She doesn’t discover its location herself, since the arriving Transformers drop in on her armed with all the knowledge she lacks, and whisk her off to its location in Peru. And so, with its human pieces all in play — the human scenes aren’t really the problem here — Rise of the Beasts engages in the first of its many battles over a technological somethingorother, in which the Autobots leap and attack Unicron’s acolytes, who look distinctly Decepticon-esque gray and unremarkable, like the series’ previous villains. In that first major action scene, set in the dead of night, something fundamentally breaks about this movie. Where the Bay films at least — oh God, yes, I’m about to hold them up as a positive example — spewed controlled chaos across the frame, with background and foreground elements hinting at a sense of a vastness that’s hard to visually latch on to, Rise of the Beasts has a visual plainness that lays bare its failures of imagination and artistry, in a way Bay was always able to disguise. Image Paramount Pictures With the camera at a safe, unobtrusive distance, punches and melee strikes land without much impact. There’s little weight to the CGI of these supposedly clunking machines, and successive shots are seldom related to each other in any meaningful way. Nothing holds together. Screen direction and geography appear to change at random, so while the individual shots might be decipherable for once, they exist outside of space and time, thrown together in a manner that somehow feels even more kaleidoscopic than Bay ever managed. The one thing Bay always ensured, even amid his dizzying visual pandemonium, was a sense of scale, both through human eyes and through the size contrast between Transformer characters and human-scale objects. It’s scraping the bottom of the barrel to praise Bay for that specifically, but Rise of the Beasts barely manages that much. The relative size of the Transformers to humans, and to each other appears to change drastically from shot to shot. This not only makes the action hard to follow, but when certain characters are blocked at different points of depth, the combination of this shifting scale and an artless sense of lighting yields a constant “giant Dom, tiny Hobbs” and vice versa effect from that one confusingly staged dialogue scene in Fast & Furious 6. Imagine a whole movie that feels like this, and you have a pretty good sense of Rise of the Beasts. But what of the Maximals, the actual beasts of the title? Unfortunately, they don’t feature in this film nearly as much as Optimus, Bumblebee, and the familiar Autobot crew. Granted, they at least play more of a role than the thoroughly wasted Dinobots of Transformers Age of Extinction, and they’re also involved in what might be the series’ only actual moral dilemma to date, involving sacrifice for the greater good, even though the lack of physical weight often results in a lack of emotional weight as well. Like Mirage, the Maximals’ apelike leader, Optimus Primal Ron Perlman, has the advantage of a face that can actually emote, resulting in a handful of scenes that border on emotionally engaging, even though his comrades — like the avian Airazor, voiced by a bored-sounding Michelle Yeoh — have no such luxury, and have little function or personality beyond delivering plot information. Image Paramount Pictures If there’s one novel action beat in Rise of the Beasts, it’s the way the screenplay credited to a five-person writing team, including Obi-Wan Kenobi showrunner Joby Harold finds a fun way for the humans to be actively involved in the Transformer battles as equal participants, rather than onlookers or victims running helter-skelter. Even though the scenes in question are dull as dirt, and completely disconnected from shot to shot. The climactic action set-piece mimics the final battle in Avengers Endgame. But rather than putting in the legwork to make audiences care about the characters, the film only apes the aspects of Marvel’s shared-universe climax that don’t work in isolation the nondescript, wide-open setting, and the anonymous legion of faceless enemies that might as well be a sea of metallic goop. The live-action Transformers movies have always been hard to look at, but with Bay at the helm, they at least felt like the work of a deranged madman allowed to run wild with a camera and VFX budget for the sake of experimentation. He’s made plenty of good films outside the Transformers sandbox. Instead, this time around, the experiment appears to be a studio testing the limits of what technically qualifies as a Transformers film — or a film in general. Transformers Rise of the Beasts is haplessly cobbled together from CGI elements that appear to have been created by different departments who weren’t allowed to communicate. There’s even a handful of shots in which Airazor is so poorly rendered that she appears almost two-dimensional, as if the crunch likely foisted on the film’s helpless VFX crews were manifesting as an artistic cry for help. Alien robot cars and their space battles are concepts with such basic, gee-whiz sci-fi appeal that they’ve worked numerous times across decades of comics and cartoons. And yet there’s little childlike wonder to the Transformers live-action movies, which often stuff their frames with visually oppressive, eyesore conceptions of things that ought to be simple and imaginative. Virtually all of the Transformers movies feel like they’re trying to defeat their audience, but this time, the movie wins. Transformers Rise of the Beasts opens in theaters on June 9.

Triple9 (2016) 6.3 62,780. Triple 9 (2016) Trailer. A gang of criminals and corrupt cops plan the murder of a police officer in order to pull off their biggest heist yet across town. Genre:Action, Mystery, Thriller.

9Songs: Directed by Michael Winterbottom. With Kieran O'Brien, Margo Stilley, Black Rebel Motorcycle Club, Don Blum. In London, intense sexual encounters take place between an American college student, named Lisa, and an English scientist, named Matt, between attending rock concerts.

^{Cast & crewUser reviewsTriviaDom and the crew must take on an international terrorist who turns out to be Dom and Mia's estranged and the crew must take on an international terrorist who turns out to be Dom and Mia's estranged and the crew must take on an international terrorist who turns out to be Dom and Mia's estranged production, box office & company infoVideos88'Fast & Furious' Movies Ranked by IMDb Rating'Fast & Furious' Movies Ranked by IMDb RatingThe family of IMDb users have opinions about the Fast & Furious franchise. See how they rank each of the nine films in the series and one spin-off.See our picksMore like thisStoryline} Okrožje9 (2009) IMDB Complete movie, English subtitles. An extraterrestrial race forced to live in slum-like conditions on Earth suddenly finds a kindred spirit in a government agent who is exposed to their biotechnology. Director: Neill Blomkamp, Writers: Neill Blomkamp, Terri Tatchell, Stars: Sharlto Copley, David James, Jason Cope |Plot Fancy watching 'F9' on your TV, phone, or tablet? Searching for a streaming service to buy, rent, download, or watch the Justin Lin-directed movie via subscription can be a challenge, so we here at Moviefone want to do the work for you. Read on for a listing of streaming and cable services - including rental, purchase, and subscription options - along with the availability of 'F9' on each platform when they are available. Now, before we get into all the details of how you can watch 'F9' right now, here are some finer points about the Universal Pictures, Original Film, One Race, Perfect Storm Entertainment action flick. Released June 25th, 2021, 'F9' stars Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Ludacris The PG-13 movie has a runtime of about 2 hr 23 min, and received a user score of 72 out of 100 on TMDb, which compiled reviews from 5,626 experienced users. Interested in knowing what the movie's about? Here's the plot "Dominic Toretto and his crew battle the most skilled assassin and high-performance driver they've ever encountered his forsaken brother." 'F9' is currently available to rent, purchase, or stream via subscription on DIRECTV, Microsoft Store, Redbox, Google Play Movies, Amazon Video, AMC on Demand, Vudu, Spectrum On Demand, Alamo on Demand, YouTube, FlixFling, Apple iTunes, and Max .'F9' Release DatesWatch on DVD or Blu-ray starting September 21st, 2021 - Buy F9 DVDWatch Full Movie on Digital or Stream on Demand starting July 29th, 2021 9 Directed by Shane Acker. With Christopher Plummer, Martin Landau, John C. Reilly, Crispin Glover. A rag doll that awakens in a postapocalyptic future holds the key to humanity's salvation.

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Nine Directed by Rob Marshall. With Daniel Day-Lewis, Sandro Dori, Nicole Kidman, Marion Cotillard. Famous film director Guido Contini struggles to find harmony in his professional and personal lives, as he engages in dramatic relationships with his wife, his mistress, his muse, his agent, and his mother.

9to 5 (listed in the opening credits as Nine to Five) is a 1980 American comedy film produced by Bruce Gilbert, story by Patricia Resnick, screenplay by Re vyKGoO.