The actors and writers strikes have resulted in most Hollywood film and television productions being shut down, from the “Gladiator” sequel to the live action “Lilo & Stitch.” But some independent films and television productions are are still filming after reaching agreements with the Screen Actors Guild-American Federation of Television and Radio Artists that will allow them to continue with union actors amid the strike.

It’s a move that the union leadership says is an essential negotiating tactic, but that’s also proved divisive and confusing to many sweating it out on the picket lines while movie stars like Anne Hathaway and Matthew McConaughey continue to work.

Here’s what to know about the “interim agreements” that are keeping some Hollywood productions filming.

WHAT FALLS UNDER THE INTERIM AGREEMENTS?

Actors are striking against studios and streaming services that bargain as the Alliance of Motion Picture and Television Producers. The group’s ranks include the major film studios (Disney, Paramount, Sony, Universal and Warner Bros.), television networks (ABC, CBS, Fox and NBC) and streaming services like Netflix, Apple TV+ and Amazon.

There are numerous independent production companies that aren’t affiliated with the AMPTP, and they are allowed to film with SAG-AFTRA actors during the strike. They must agree to terms that the union last proposed during negotiations, which includes a new minimum wage rate that’s 11% higher than before, guarantees about revenue sharing and artificial intelligence protections.

Those terms were rejected by the studios and streaming services, but SAG-AFTRA realized that some independent producers and smaller film studios (like Neon and A24) were willing to agree to the terms if it meant they could keep filming.

“The interim agreement provides empirical proof that the terms that we have put on the table with the AMPTP are not only realistic, but are actually desirable and usable by producers in this industry,” SAG-AFTRA executive director and chief negotiator Duncan Crabtree-Ireland said.

WHAT ABOUT THE WRITERS?

The Writers’ Guild of America has opted not to grant similar agreements in their own strike. In an attempt to show solidarity and sync strategy, SAG-AFTRA changed course Monday and said interim agreements would not be granted to productions that were covered by the WGA contract.

WGA films and shows include about 15 to 20% of the productions granted the agreements before the switch, and those will not be revoked, but no new ones will be granted.

“We have been advised by the WGA that this modification will assist them in executing their strike strategy, and we believe it does not undermine the utility and effectiveness of ours,” Crabtree-Ireland said. “It is a win-win change.”

WHAT ARE SOME OF THE PRODUCTIONS ALLOWED TO CONTINUE?

More than 200 productions have been approved so far, including a Rebel Wilson comedy “Bride Hard,” an untitled Guy Ritchie project, a film with Jenna Ortega and Paul Rudd called “Death of a Unicorn,” the Matthew McConaughey thriller “The Rivals of the Amziah King” and David Lowery’s pop star movie “Mother Mary,” starring Anne Hathaway and Michaela Coel.

The list is being constantly updated on SAG-AFTRA’s website, but even some productions that have been granted exceptions are still pausing for optics and solidarity. Viola Davis decided to step away from her film “G20,” in which she plays the U.S. president at a G20 Summit overtaken by terrorists, despite it being granted a waiver.

“I love this movie but I do not feel that it would be appropriate for this production to move forward during the strike,” Davis said in a statement. “G20” though independently financed, was set to be distributed by Amazon Studios, which is an AMPTP member.

WHAT IS SAG-AFTRA’S STRATEGY?

Crabtree-Ireland said there are several benefits of the interim agreement to SAG-AFTRA members.

“It provides absolute empirical proof that the terms that we are seeking in the negotiation are reasonable,” he told The Associated Press in an interview. “We have hundreds of independent producers who say we’ll be happy to produce under those terms.”

It also provides opportunities for crews and actors to work, relieving some of the financial pressures of the strike. And, he added, it might be getting the attention of studios.

Emmy-winning “Abbott Elementary” actor Sheryl Lee Ralph agrees with the strategy.

“I have to honestly say interim agreements are smart agreements. What that does is keep little conversations going with producers who are not the big major producers,” she told the AP. “So now the big folks can look and say, ‘Well, wait a minute, if they can do it, why aren’t we doing it.’”

WHY IS IT CONTROVERSIAL?

To some members sweating it out on the picket lines and pinching pennies, it doesn’t feel like a united work stoppage when major celebrities like Hathaway and McConaughey get to still make movies.

Comedian Sarah Silverman was one who was especially irked about the loophole and posted her thoughts in an Instagram video. After meeting with SAG-AFTRA president Fran Drescher and Crabtree-Ireland, she walked back her outrage and said both sides better understood the waivers could be a positive and a negative.

“I do understand that some members feel like it creates a confusing message or that it makes it not as clear of a line,” Crabtree-Ireland conceded. But he added that “we’re all very clear on the fact that AMPTP companies are the companies we’re on strike against.”

WHAT HAPPENS IF AN AMPTP COMPANY BUYS THE FILM FOR DISTRIBUTION?

Some of the productions from smaller studios, like A24 and Neon, have their own distribution arms that can get films out into the world. But others don’t. They often sell to AMPTP companies who ultimately put them into theaters or on their streaming services. “G20” is a prime example of this, having already had a deal in place with Amazon to distribute.

Crabtree-Ireland said it’s “a concern” but also a “reality we accept as a possibility” that one of these independent films will sell to, say, Netflix. He sees a possible upside if this happens though, as the interim agreement includes a streaming revenue share proposal.

And he said that any company that acquires an interim-agreement film at the upcoming slate of fall festivals like Venice, Telluride and Toronto — key places where an AMPTP studio might acquire such a project — will have to pay performers the residuals the contract requires.

WHAT ABOUT ACTORS PROMOTING COMPLETED PROJECTS?

SAG-AFTRA is reviewing applications that would allow talent to promote independent films at the fall festivals, which are going forward with many high-profile world premieres regardless of actor availability.

Luc Besson’s “DogMan,” debuting at Venice, was recently granted an interim agreement allowing its stars, like Caleb Landry Jones, to help promote the film through red carpet appearances and interviews. Other independent films headed to Venice include Sofia Coppola’s “Priscilla,” with Cailee Spaeny and Jacob Elordi, Michael Mann’s “Ferrari,” with Adam Driver and Penelope Cruz, Ava DuVernay’s “Origin,” Michel Franco’s “Memory,” with Jessica Chastain and Richard Linklater’s “Hit Man,” with Glen Powell, all of which could, theoretically be granted the special status.

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NEW YORK (AP) — Moviegoing increasingly looks like it didn’t die during the pandemic. It just went into hibernation.

John Krasinski’s thriller sequel “A Quiet Place Part II” opened over the Memorial Day weekend to a pandemic-best $48.4 million, according to studio estimates Sunday. Including the Monday holiday, the studio forecasts the film will gross $58.5 million in North America. It added another $22 million in ticket sales overseas.

The film’s performance cheered a movie industry that has been punished and transformed by the pandemic. Paramount Pictures’ “A Quiet Place Part II,” which was on the cusp of opening in March 2021 before theaters shut, was the first big film this year — and one of the only larger budget COVID-era releases beside Christopher Nolan’s “Tenet” — to open exclusively in theaters.

Chris Aronson, distribution chief for Paramount, called the opening “an unqualified success.”

“It’s a huge sigh of a relief and a sense of optimism for sure,” Aronson said. “Movies, moviegoing, movie theaters aren’t dead. Yes, they’ve been threatened but they’re proving once again that they’re resilient and that people do want to have that communal experience.”

Many studios have trotted out hybrid release plans during the pandemic, debuting films simultaneously in the home. The Walt Disney Co. did that this weekend with its live-action PG-13 Cruella De Vil prequel, “Cruella,” making it available to Disney+ subscribers for $30. In theaters, it grossed $21.3 million, Disney said, and an estimated $26.4 million over the four-day weekend. “Cruella” also added $16.1 million in 29 international territories. Disney didn’t say how much the film made on the company’s streaming platform.

“A Quiet Place II” will also turn to streaming after 45 days in theaters when it becomes available on Paramount+. One clear result of the pandemic is that the theatrical window has shrunk, probably permanently. Three months was once the customary length of a movie’s run in theaters. The year’s previous best debut belonged to Warner Bros.’ “Godzilla vs. Kong,” which opened with $32.2 million, or $48.5 million over its first five days, while simultaneously streaming on HBO Max.

The contrasting release strategies between “A Quiet Place Part II” and “Cruella” offered a test case for Hollywood. How much does a day-and-date release cost a movie like “Cruella” in ticket sales? Is it worth it? Without knowing how much “Cruella” benefitted Disney+, a true comparison isn’t possible. But the strong returns for the theater-only “A Quiet Place Part II” are telling, says Paul Dergarabedian, senior media analyst for data firm Comscore. He called it a “pivotal weekend” for the movie industry that proved predictions of the movie theater’s demise “flat-out wrong.”

“That ‘Quiet Place Part II’ did so well makes a strong case that a theatrical-first release for a big movie is the way to go,” Dergarabedian said. “This is the best possible news for an industry that’s been dealing with probably the most profoundly challenging chapter in the history of the movie theater.”

The debut of “A Quiet Place Part II” was much watched throughout Hollywood as the kickoff to its delayed summer movie season. After largely sitting out the pandemic, or diverting to streaming platforms, a lineup of blockbusters are again queuing up. On tap are Warner Bros.’ “In the Heights,” Universals’ “F9” and Disney’s “Black Widow.”

Last week, Universal Pictures’ ninth installment in the “Fast & Furious” franchise, “F9,” opened with $162 million in ticket sales in eight international markets, and $135 million in China alone. In its second weekend, “F9,” which opens in North America on June 25, raced toward $230 million worldwide.

“A Quiet Place Part II” had already had its red-carpet premiere in March last year, and spent some of its marketing budget. But it opened remarkably in line with predictions of how many tickets it would sell before the onset of the pandemic. In the intervening months, Paramount sold off many of its films to streamers — “Coming 2 America,” “The Trial of the Chicago 7” — but Krasinski and the studio felt strongly that the hushed intensity of “A Quiet Place Part II” worked best on the big screen.

In an interview ahead of the film’s release, Krasinski said a theatrical release was “non-negotiable.” And Krasinski worked hard to stoke excitement, traveling the country in the week leading up to release to surprise moviegoers. Still, given the circumstances, he had little idea whether audiences would come out.

“As bizarre as the entire year has been is how bizarre whatever opening weekend is,” Krasinski said. “I don’t really know what it is anymore.”

In the end, “A Quiet Place Part II” performed a lot like how the first one did. That 2018 hit, which ultimately grossed $340 million globally on a $17 million budget, launched with $50.2 million in North American ticket sales. Sequels usually do better than the original but “Part II” had far more challenges due to pandemic.

Rich Gelfond, chief executive of IMAX, where “A Quiet Place Part II” earned $4.1 million domestically, called the film “the first domestic release this year to cross the threshold from ‘great opening weekend given the pandemic’ to ‘great opening weekend, period.'”

Memorial Day weekend, usually one of the busiest for theaters, still didn’t look like it normally does at the movies. Total box office exceeded $80 million but that’s about a third of the holiday weekend’s normal business. Last Memorial Day, when nearly all operating theaters were drive-ins, ticket sales amounted to $842,000, according to Comscore.

Many theaters, particularly in New York and Los Angeles, are still operating with social distancing measures. But guidelines are thawing. Last week, the nation’s top theater chains — AMC, Regal, Cinemark — said they would no longer require vaccinated moviegoers to wear face masks.

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Tickets are required, but the community is welcome to enjoy these films – some nostalgic and some educational. Three of the films cost $25 per vehicle and three of the movies are free. Each showing will be limited to 80 vehicles.

The movie lineup is:

My Family/Mi Familia: Friday, Oct 2 (FREE)

Grease: Saturday, Oct. 3

Milk: Tuesday, Oct. 6 (FREE)

The Goonies: Friday, Oct. 16

The Sandlot: Saturday, Oct. 17

Nightmare Before Christmas: Friday, Oct. 30 (FREE)

All films will begin at dusk. The parking lot will open at 6 p.m. for all showings.

All attendees will be required to practice safe social distancing to avoid the spread of COVID-19. Attendees must wear masks when they’re outside of their vehicles.

All profits benefit the Pledge for Success, a basic-needs initiative that removes some of the barriers to student success inside and outside of the classroom by providing students funding, food, books and supplies, clothing and basic, essential hygienic items. Due to the COVID-19 pandemic and recession, the needs are extremely high this year and all financial help is much appreciated for this important cause.

The MSJC Foundation provides financial assistance to support student success and MSJC initiatives. The nonprofit, tax-exempt 501(c)3 corporation provides scholarships and mini-grants to MSJC students and faculty and offers assistance through programs such as the Pledge for Success with funds raised from the private and public sectors. Since 1983, the Foundation has been comprised of community leaders who volunteer to work with college staff to support MSJC’s specific needs.

MSJC serves about 27,000 students over a 1,700-square-mile area.

-MSJC

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LOS ANGELES (AP) — With great success comes great re-negotiation. In the wake of the announcement that “Spider-Man: Far From Home” is now the highest-grossing film ever in Sony Pictures’ history, reports surfaced that Marvel Studios may be stepping away from the cross-studio partnership.

The Hollywood trade Deadline reported Tuesday that there was a disagreement over the profit-sharing structure.

According to a person close to the deal who was unauthorized to speak publicly, negotiations are not yet final. But the suggestion that Marvel Studios president Kevin Feige may not produce future live-action “Spider-Man” movies and that the character itself might not appear in any more Marvel Cinematic Universe films quickly turned into a trending topic.

Sony has held the rights to the Marvel character since 1985, but in 2015, announced a partnership with Disney and Marvel that would allow Spider-Man to be used in MCU films like “Avengers: Endgame.” It also allowed for Feige to serve as a producer on stand-alone “Spider-Man” movies like “Far From Home.”

The crossovers have been well-received by audiences and critics. And the teenage web-slinger has been made into a central component in the MCU with a close relationship to Tony Stark that drove the story lines in both “Endgame” and “Far From Home.” But as Marvel enters its “Phase 4,” Spider-Man also has no official MCU appearances planned.

Two standalone “Spider-Man” movies are, however, reportedly in the works from Sony which would bring back director Jon Watts and star Tom Holland. Sony has also created its own web of Spider-Man spinoffs, including the Oscar-winning animated feature “Spider-Man: Into the Spider-Verse,” and “Venom.”

Representatives from the two studios did not respond to requests for comment.

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Search: Marvel’s involvement in Spider-Man

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4. The Wiz (1979) / The Wizard of Oz (1939)
This a 2×1 because is based on the same story, and both has spectacular performances, The Wiz has Michael Jackson and Diana Ross, and The Wizard of Oz has Judy Garland

3. The Rocky Horror Picture Show (1975)
This is a great movie that has become a cult classic, and let’s be honest, Dr. Frank-N-Furter is the sexiest transvestite scientist you can meet.

2. Grease (1978)
A real classic, if you haven’t seen it, what are you waiting for? You will want to live in the ’50s and roll like them, John Travolta and Olivia Newton-John make of this musical a great movie.

1. La La Land. (2016)
The most recent of the list, and there’s no doubt why it won 6 Oscars. It’s a movie that catches you from the very beginning, great songs, and even if it looks like a cliché love story, it has a pretty realistic ending.

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4. The Notebook (2004)
This a movie that will make you believe in true love again. It’s set in the 1940s, and it will show you that even a forbidden love it’s stronger than anything.

3. Love, Rosie (2014)
Timing is everything, and this movie will show you that. With stellar performances of Lilly Collins and Sam Claflin, you will see friendship sometimes it’s love in disguise.

2. A walk to remember (2002)
Yes, it seems like love movies were more significant in the past. But this one it’s a classic, take your tissues and ice cream and watch it with your bestie. The first love and how it can break your heart.

1. Me before you. (2016)
In the first place because even though since the beginning of the movie, you have a hunch of what will happen when it does, it breaks you, hard. Based on the same name book.

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Such as John Ford, Alfred Hitchcock, Orson Wells, Federico Fellini or Roman Polanski, Kubrick captured his deepest obsessions in his films. But he went further, much further, where the level of perfection in his art was almost unbearable for those around him. His famous phrase was: “Very well, now again.” Something that made his stars nervous. “How can someone make you love him in a moment, and then hate him the next minute,” said actress Nicole Kidman after filming “Eyes Wide Shut.”

Early years

At the young age of 23, Kubrick began with short films such as “Day of the Fight,” but it would be “Fear and Desire” the piece that would premiere him as a filmmaker. His second film, “The Kiss of Murder” was his second film where he tells with wit and passion the story of 2 men who fight for the same woman. After “Perfect Beating,” a 1956 thriller where we see a detailed robbery perpetrated by ordinary people, Kubrick finally gives us his first great work “Paths of Glory” and from here the spotlight began to point to him. 

Paths of Glory

In “Paths of Glory” we see reflected one of the techniques that would define most of Kubrick’s films: lateral tracking with traveling following characters. In this film we see soldiers leave the trenches around bullets and explosions and, later this would be honored by Steven Spielberg in his movie “War Horse.”

Lolita

After “Spartacus,” Kubrick understood something. He knew how he wanted to make films, but the big producers did not let him. It was from this point that he did not allow anyone to come back between his heart and his art; and so that is how “Lolita” came.

This film is a controversial adaptation of the novel of the same name written by Vladimir Nabokov that tells the story of a pedophile man in his fourth decade that relates in detail his passion for girls, and how he fell in love with his 14 year old step daughter Lolita.

In those days, these type of taboo topics were very difficult to handle, and the chances of being rejected by the audience were too high for the taste of the producers. Kubrick however knew how to make an original, clear, concise and correct plot, with a lot of argumentative details and subplots that led to the first scene of the film, which was a murder, but Hollywood again censored the filmmaker.

2001: A Space Odyssey

Despite having appeared almost always on the list of Oscar nominees, as with his satirical “Dr. Strangelove,” he was always ignored by the Hollywood academy. The only Oscar he achieved in his entire life was for “2001: A Space Odyssey” where we can appreciate how Kubrick summarizes in a split second, millions of years of evolution: the greatest time ellipsis ever seen in the history of cinema.

This was also one of the most expensive projects of the capricious filmmaker, who came to spend 10 million dollars (a great excess for the time) of an initial budget of 6 million. What could you expect from a madman who does not rest until he is surrounded by experts from NASA and build a huge rotating centrifuge to recreate the gravity environment of space?

At the end of the day the expense was worth it. Few blockbusters achieved what this Science Fiction movie did, raising $57 million dollars only in the United States, a great success considering that this film was so indigestible for the public; there is barely 40 minutes of dialogue in a footage of much more than two hours, full of philosophical questions and musical compositions such as “The Blue Danube” and “Thus spoke Zarathustra.” It is practically one of the first examples of video art that triumphed by surprise in the moments before the psychedelic era.

A Clockwork Orange

The artistic sense of this giant of the cinema flourished in  “A Clockwork Orange” where the colors, the contrast and the unusual shots with their powerful lenses stood out. The most lucid moments with a dry and cold photograph; and the most insane ones with harmonies of colors and a certain irony in the environment.

To make the shot where “Alex DeLarge” jumps from the window to end his misery, Kubrick threw a reflex camera to recreate the scene with a subjective shot; the lens was destroyed but Kubrick got what he wanted. Everyone around him knew that he always got what he wanted, such as when he bought the song rights “Singing in the Rain” for $10,000 after actor Malcolm McDowell decided to hum it casually at the scene of the violation in the writer’s house.

In this piece we can appreciate that point where beauty and violence come together exquisitely to create a satire of evil and violence related to the most beautiful classical melodies. One of the films with the most history of censorship in the industry.

Barry Lyndon

The riskiest movie of Kubrick was probably Barry Lyndon. There are critics who consider the riskiest one was his last film (Eyes Wide Shut), but for that premiere, we knew who Kubrick was and from where the blows were going to arrive.

Barry Lyndon is a film with an impressive script, which is not based on the dialogue or its characters, but on the place where it develops; quite uncommon for the time. The movie is slow and elegant. Baroque style, both in musical ambiance and in set design. The costumes and hairdressing are unbeatable. Sets were more than adequate, and the photography worthy from the filmmaker.

Kubrick’s obsession was so much to present a piece taken from the memories of the eighteenth century that ordered hundreds of candles for the final illumination of this film, something quite risky and difficult for the cameras of the ’70s.

He took production and shooting so seriously that it was scary. They repeated a scene 40 times in a pigeon house, with real pigeons. Of course, they did not give the Oscar to Kubrick and friends close to the director commented that was probably the main reason why he did not make another movie in a long time. 

The Shining

However, it was not forever. “The Shining,” an adaptation of Stephen King’s book and one of the most remembered horror films meant, the return of the monster from the nightmares of the actors. The psychological torture that the actress Shelley Duvall received from the director to perform realistically the famous scene of “Here is Johnny!” was very intense to make her look really horrified. “My eyes were so swollen from crying for several hours that there were times when I wanted to quit,” said Duvall. But that was not all; Duvall was forced to perform the exhausting baseball bat scene 127 times. Afterward, Duvall presented Kubrick with clumps of hair that had fallen due to the extreme stress of filming.

Full Metal Jacket

Then he adapted “Full Metal Jacket,” returning to the warlike genre but with much more agility and violence than in “Paths of Glory.” The budget of the film was an exaggeration. Many buildings and bridges flew. They even resorted to military-type explosives. However, the war scenes are impressive, probably much more than “Saving Private Ryan.” The realism was atrocious and shocking.

Eyes Wide Shut

At the end of the ’90s, Kubrick ends with his most criticized film “Eyes Wide Shut.” The film was not completely finished and the version we see is that of montage. The film suffered many censorship problems due to the ritual scene followed by a massive orgy, as well as several sex scenes. Everything is narrated ambiguously as if everything were a dream; as if we saw episodes lost of something that did not really happen. Everything is dreamlike, metaphorical, full of cinematographic language, slow, elegant but at the same time terrifying.

Napoleon

Kubrick worked hard during his career in the research and documentation of one of his favorite historical characters “Napoleon.” This is considered the great work never made by Stanley Kubrick. It was the great monster of his nightmares. Despite having rooms full of documents and information, the filmmaker was not satisfied. He felt that he needed more to be able to achieve this masterpiece of his life, a film that would never see the light.

Kubrick inherited all this information, plans and ideas to Steven Spielberg along with a project he was working on just before his death. “A.I. Artificial Intelligence. “Although Spielberg did produce and direct the last one mentioned, he has not dared to produce Napoleon, because he feels that the only filmmaker capable of realizing it with the greatness and wit it requires is gone.

Great writer, creator, and narrator, Stanley Kubrick is the only director who is not pigeonholed in one or two genres since he has in his portfolio several genres of film. However, despite the fact that each of his films are so different amongst each other, the signature of Kubrick can be clearly perceived; when you watch a Kubrick film, you’re seeing the inside of his mind.

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Why watch it? The cast got an A+, Paul Dano, Daniel Radcliffe and Mary Elizabeth Winstead make this movie easy to take, providing the viewer with a good time.

9. Cloud with a Chance of Meatballs (2009 & 2013) This is a 2×1 recommendation, both of the movies are good enough for this top rating. Family friendly, and the right amount of white and sometimes black humor in disguise.

Why watch it? I must be  cast obsessed, but this movie also has a great cast. Anna Faris, Bill Hader and Neil Patrick Harris, are a great combo to make you laugh.

8. Gremlins (1984) Oldie but a Goldie. I remember this movie was one of my favorites as a child, and now I love it even more. A perfect combination of comedy and horror, it may not be that scary now, but it’s still a good film.

Why watch it? This one doesn’t have the best performances in the world, but it has something else, furry and cute creatures that become evil with water and food.

7. Zodiac (2007) Based on a true story, this film can give you the chills and makes you feel helpless because it’s really scary that someone that insane couldn’t be caught.

Why watch it? I think the scariest movies are the ones that are based on true stories, and this is one of them.

6. Pulp Fiction (1994) One of everybody’s favorites, for many, Quentin Tarantino’s best movie. The adventures of two hit men and some crime stories.

Why watch it? We all love a little action and if you’re into black humor, you won’t regret watching it.

5. Someone Great (2019) A chick flick that you can’t miss, grab your friends and some popcorn. Not about love but about friendship and growth. It’s R rated so be aware of that, but it’s really funny and enjoyable.

Why watch it? If you have ever had a bad breakup, this film shows you how you can overcome anything with real friendship.

4. Coco (2017) Beautiful movie inspired in the beautiful country of Mexico. Colorful, blissful and with a lot of mixed feelings, this film takes you to an incredible and fantastic world.

Why watch it? It’s one of the best movies Pixar has ever made, it fills your heart with family love, but bring tissues because you’ll probably cry a river.

3. The Matrix (1999) If you like dystopian future movies, this is for you. The Matrix is now a science fiction classic.

Why watch it? I’ll give you just one reason: Keanu Reeves.

2. Ex Machina (2014) This a masterpiece of Sci-fi and suspense. It engages you in the story, and makes you ask yourself ‘what if’.

Why watch it? Some people believe that all movies (or most of them) show you something that might happen in the future. And this movie could be one.

1.  Monty Python and the holy grail (1975) A real comedy classic. With different kinds of humor, Monty Python brings you this silly parody of the search for the Holy Grail.

Why watch it? Monty Python is one of the best comedy groups ever. Every single movie of theirs is great.

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