Turn your videos into movie magic.
Check out my review if you want to know whether Little Women is kid friendly. Here are some of the best and most ridiculous quotes from the March sisters and family including Jo, Amy, Meg, Beth, Aunt March, and Marmee. Knives Out is a great antidote to the Oscar contenders and family fare that dominate this time of year. It's a purely fun time at the movies thanks to its strong story and fantastic performances. But I figure out how some things work while building that monstrosity! Bottom line: Shotcut might be my replacement for iMovie, as ugly as it is. I might just have to become insensitive to non-Mac ugliness. I know, I shouldn’t complain, it’s free softwarebut iMovie is also free. Is Knives Out truly worthy of its98% on Rotten Tomatoes? Sam and DJ dive into Rian Johnson's newest flick right here!Written and Directed by Rian Johnson.
With iMovie for iOS and macOS, you can enjoy your videos like never before. It’s easy to browse your clips and create Hollywood-style trailers and stunning 4K-resolution movies. You can even start editing on iPhone or iPad, then finish on your Mac.
Download iMovie for iOS
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Easy. From the first
scene to the last.
Whether you’re using a Mac or an iOS device, it’s never been easier to make it in the movies. Just choose your clips, then add titles, music, and effects. iMovie even supports 4K video for stunning cinema-quality films. And that, ladies and gentlemen, is a wrap.
Edit Like a Pro
With iMovie, create professional-looking videos without an editing degree. Easily add photos and videos to projects, trim clips with your finger, add seamless transitions, and fade audio like a pro.
Choose from 13 creative video filters that add a cinematic touch. Give your film a nostalgic silent‑era style, a vintage western appearance, or a fun comic book look. It's simple to apply filters to individual clips or your entire movie, and adjust the intensity on your iPhone or iPad.
Make action shots more exciting by slowing them down. Let viewers fly through scenes by speeding them up. Or add a broadcast feel to your school report with picture-in-picture and split-screen effects.
Rock your video with over 80 smart soundtracks on iOS that intelligently adjust to match the length of your movie. You can also add built-in sound effects or record your own voiceover to create a video that sounds as good as it looks.
Whether you're making a silent film, moving a story forward, or simply have something to say, iMovie titles and backgrounds let you quickly create personalized title cards, credits, and more on your iPhone and iPad. Easily customize titles by choosing your favorite fonts and colors, pinching to scale, placing them over photos or videos, and then positioning them onscreen wherever you like. Plus, you can select background colors, gradients, and patterns, adjust title and background durations, or even add a graphic or logo to make your mark.
Transport yourself with green-screen effects.
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Go everywhere you’ve always wanted to — without leaving home. With green-screen effects in iMovie for iOS and macOS, you can place yourself or your characters in exotic locations with a tap or a click. Masking controls and strength adjustments let you fine-tune the effect for maximum believability.
You have hundreds of videos. And one big dream to be a moviemaker. iMovie trailers let you quickly create fun, Hollywood-style movie trailers from all that footage. Choose from a range of templates in almost any genre, pick your studio logo, and type in your movie title and credits. Then add photos and videos to the storyboard. Whether you’re using an iPhone, iPad, or Mac, you’ll have an instant blockbuster.
iMovie for iOS and iMovie for macOS are designed to work together. You can start cutting a project on your iPhone, then use AirDrop or iCloud Drive to wirelessly transfer it to your iPad. You can also send a project from your iPhone or iPad to your Mac for finishing touches like color correction and animated maps. And you can even open iMovie projects in Final Cut Pro to take advantage of professional editing tools. Time to take a bow.
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iMovie on MacBook Pro
You have a great touch
for making movies.
iMovie is even easier to use with MacBook Pro, featuring the revolutionary Touch Bar. The most useful commands automatically appear on the keyboard, right where you need them. And MacBook Pro easily powers through demanding 4K video projects so you can edit and export in record time.
iMovie on iPad Pro
A powerful performance in every movie.
iMovie delivers a tour de force on iPad Pro. Work with multiple 4K video clips. Create effects like green screen, picture‑in‑picture, or split screen and play them back instantly. Use the all-new Magic Keyboard for iPad Pro with trackpad support for an extra level of speed and precision when editing. And with the USB‑C port on iPad Pro, you can connect to an external display to show others your latest cut in 4K while you work.
iMovie in the Classroom
come to life.
Engage your students through video storytelling. Students can use green-screen effects to go back in time for history projects, or create split-screen and picture-in-picture effects to report on current events. Drag-and-drop trailers make it even simpler to create beautiful, personal projects that look and sound great. And iMovie for iOS works with ClassKit, so teachers can assign projects to students, and students can easily hand in their finished assignments right from the app.
Make Movie Magic.
iMovie is easy to use, and it’s free. Just click to download and install on your Mac or iOS device.
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Clips is a free iOS app for making and sharing fun videos with text, effects, graphics, and more.
Harlan Thrombey (Christopher Plummer) is a wildly successful mystery writer and he’s dead. His housekeeper Fran (Edi Patterson) finds him with a slit throat and the knife still in his hand. It looks like suicide, but there are some questions. After all, who really slits their own throat? A couple of cops (the wonderful pair of LaKeith Stanfield and Noah Segan) come to the Thrombey estate do a small investigation, just to make sure they’re not missing anything, and the film opens with their conversations with each of the Thrombey family members. Daughter Linda (Jamie Lee Curtis) is a successful businesswoman with a shit husband named Richard (Don Johnson) and an awful son named Ransom (Chris Evans). Son Walt (Michael Shannon) runs the publishing side, but he’s been fighting a lot with dear old dad. Daughter-in-law Joni (Toni Collette) is deep into self-help but has been helping herself by ripping off the old man. Finally, there’s Marta Cabrera (Ana de Armas), the real heroine of “Knives Out” and Harlan’s most trusted confidante. Can she help solve the case?
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The case may have just been closed if not for the arrival of the famous detective Benoit Blanc, played by Daniel Craig, who spins a southern drawl and oversized ego into something instantly memorable. Blanc was delivered a news story about the suicide and envelope of money. So someone thinks this is fishy. Why? And who? The question of who brought in Blanc drives the narrative as much as who killed Harlan. Johnson is constantly presenting viewers with the familiar, especially fans of the mystery movie—the single palatial setting, the family of monsters, the exaggerated detective—but then he subverts them every so slightly, and it feels fresh. So while Blanc feels like a Poirot riff, Johnson and Craig avoid turning it into a caricature of something we’ve seen before.
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Craig is delightful—I love the excitement in his voice when he figures things out late in the film—but some of the cast gets lost. It’s inevitable with one this big, but if you’re going to “Knives Out” for a specific actor or actress, be aware that it’s a large ensemble piece and your fave may get short shrift. Unless your favorite is Ana de Armas, who is really the heart of the movie, allowing Johnson to imbue “Knives Out” with some wonderful political commentary. The Thrombeys claim to love Marta, even if they can’t remember which South American country she comes from, and Don Johnson gets a few razor sharp scenes as the kind of guy who rants about immigration before quoting “Hamilton.” It’s not embedded in the entire piece as much as “Get Out,” but this “Out” is similar in the way it uses genre structure to say something about wealth and social inequality. And in terms of performance, the often-promising de Armas has never been handed a role this big, and she totally delivers.