Ree
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Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen. Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan... Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don. The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment
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Before Krypton exploded and Jor-El put his baby son, Kal-El, in a rocket ship to Earth, the bene册ent ruler was forced to banish three irredeemable criminals to another dimension called The Phantom Zone. The trio's leader, General Zod, vowed revenge. Later, of course, Kal-El grew up to become Superman, Earth's mighty champion. A battle with the criminal mastermind, Lex Luthor, ends with Superman hurling a nuclear warhead into space where it explodes, but not harmlessly. Instead, it frees the Kryptonian threesome from their other-dimensional prison. They soon discover they have almost unlimited power (the same powers, in fact, as Superman), which they use to take over the Earth. Meanwhile, the intrepid reporter, Lois Lane, learns that her bumbling colleague, Clark Kent, is really Superman, a revelation that leads to him bringing her to his frozen Fortress of Solitude and renouncing his powers in order to make love to her. It is only when Superman and Lois return to civilization that they learn of the three Kryptonians and how Lex Luthor has joined forces with them. Now, Superman must reverse the irreversible and regain his powers in order to save mankind.
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WhenKiraSlaterinheritsanAnimalReserveinSouthAfricashemustdecidewhethertosellitorleavethesafetyofherlifeinChicagoandriskeverythingforthisnewworldshehasfalleninlovem.77mi.ccwith.Seeingthechildrenfromtheschoolherunclebuiltandwitnessingthebeautyofanimalswalkingfreelyintheirnaturalhabitatwillconvinceherwhattherightchoiceis.
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威尔·古勒
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杰米（米拉•库妮丝 Mila Kunis 饰）是一位在纽约供职的猎头,为了将身在洛杉矶的迪伦（贾斯汀•汀布莱克 Justin Timberlake 饰）挖角到纽约,她供给的不只是丰富薪资,还给了这位初来乍到者真诚的友谊,带着他明白了纽约的美妙夜晚。“挖角”胜利了,两人成 了最好的友人,也不免遭到对方吸引。此时恰逢迪伦与后任分别,而曾禁受过情伤的杰米也不想进入一段正式关联,于是两人约定只谈性不谈爱。在迪伦的勉励下,杰米在公园搭讪到令她动心的人——大夫帕克（布赖恩•加连保格 Bryan Greenberg 饰）,但是很快发明对方只是想把她搞上床,令她再度受伤。为了帮杰米走出阴郁,迪伦带杰米回到本人故乡,两人隐约认识到对相互的情感,却在这当口产生一场误解。唯有得到才会理解珍爱,迪伦在杰米意气消沉径自回纽约后,明确本人曾经深深爱上她,而她却俨然在他生涯中消逝了,迪伦不知该怎么迈出挽回杰米的那一步…… 在第38届美国国平易近挑选奖上,本片被提名最佳笑剧片子跟最佳笑剧女演员（米拉•库妮丝）
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WithNorthKorea'srelationswiththerestoftheworldatanewandunpredictableinflectionpoint,NationalGeographicDocumentaryFilmspresentsINSIDENORTHKOREA'SDYNASTY,agroundbreakingfour-episodedocumentaryseriesthatexaminestheextraordinaryhistoryoftheworld'sonlycommunistdynasty,threegenerationsinthemaking.Ayearinproduction,INSIDENORTHKOREA'...
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Threeassassinsdealwithlife,love,addictionandtrustaseachtriestofindtheanswerstoabetterlife.Together,theyprovetobethemosttrustworthyinthistangledwebofmurder,greed,friendshipandbetrayal.
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莎莉·波特
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哈维尔·巴登!艾丽·范宁!萨尔玛·海耶克!克里斯·洛克!劳拉·琳妮将主演莎莉·波特(「奥兰多」「尽情四海」)执导的不决名新片,已在西班牙开拍。影片聚焦一个处于瓦解边沿的男子渡过跋扈狂的一天,他的女儿赐与他无前提的爱,赞助他平复心态。巴登跟海耶克扮演两小无猜的情人/伉俪,范宁扮演他们的女儿。Bleecker Street担任美国刊行,HanWay Films担任美国之外的刊行。
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The newest film from Greek director Syllas Tzoumerkas and his second collaboration with Angeliki Papoulia, star of the New Greek Cinema (Dogtooth, The Lobster), is a fierce and untamed crime tale, told in larger-than-life images. 柏林电影节全景单元
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米格尔·马德里
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Paul was raised as a girl after his sister died. He has been collecting dolls ever since. But that has left him troubled and he was unable to cope with the pressure of a medicine degree. He now returns to his home town to work as a gardener at a local mansion. But after he arrives, murders start to happen. Is he responsible or are the answers in his nightmares
