(from tv.com) :
Based on the true story of a World War II spy with access to top secret information in the British embassy in Turkey, this episode follows the brief but bright career of an English valet, code-named Cicero, who seized his chance to sell expensive secrets to the Germans, including details about D-Day’s Operation Overlord. The Nazi government, the British ambassador, and a Polish countess all dance on strings even as British counteragents close in.Read More »
from link –
In NORTH ON EVERS (1991) James Benning takes the road movie seriously, making his circular trip across the U.S. a marvelously photographed, intensely felt, and disturbing portrait of contemporary America. In many ways, this recent film is a departure of Benning’s earlier films which are characterized, at times, by extremely long, carefully planned takes and a minimal narrative approach. In NORTH ON EVERS, the shots are kept short with a narrative that is direct and detailed, like a diary or a long series of postcards to a friend. What this work shares with the other films is a dry wit and a deep interest in the American social landscape.Read More »
Quote:
Paul Newman plays the son of a long dead Mafia boss who is a simple liquor warehouse owner. Frustrated in his attempt to solve a murder of a union head, a prosecutor leaks a false story that Newman is a target of the investigation, hoping that he will tell them something for protection. As his life begins to unravel, others are hurt by the story. Sally Field, the reporter, is in the clear under the Absence of Malice rule in slander and libel cases. Knowing nothing to trade to the prosecutors, Newman must regain control of his life on different ground.
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Plot:
Cannes, 1999. Alice, an actress, wants to direct an indie picture. Kaz, a talkative (and maybe bogus) deal maker, promises $3 million if she’ll use Millie, an aging French star. But, Rick, a big producer, needs Millie for a small part in a fall movie or he loses his star, Tom Hanks. Is Kaz for real? Can Rick sweet-talk Alice and sabotage Kaz to keep Millie from taking that deal? Millie consults with Victor, her ex, about which picture to make, Rick needs money, an ingenue named Blue is discovered, Kaz hits on Victor’s new love, and Rick’s factotum connects with Blue. Knives go in various backs. Wheels spin. Which deals – and pairings – will be consummated? Written by {[email protected]}Read More »
Texan Tom Buchanan is heading back home with enough money to start his own ranch, but when he stops in the crooked town of Agry, he’s robbed and framed for murder.Read More »
Plot Synopsis: In the bourgeois circles of Europe after the Great War, can anything save the modern man? Harry Haller, a solitary intellectual, has all his life feared his dual nature of being human and being a beast. He’s decided to die on his 50th birthday, which is soon. He’s rescued from his solipsism by the mysterious Hermine, who takes him dancing, introduces him to jazz and to the beautiful and whimsical Maria, and guides him into the hallucinations of the Magic Theater, which seem to take him into Hell. Can humor, sin, and derision lead to salvation?Read More »
Cinepad.com wrote:
The deadpan comic buzz you get from Gus Van Sant’s Drugstore Cowboy is practically narcotic. The movie heightens your senses and mildly anaesthetizes them at the same time, like a potent mixture of stimulants and depressants. One of the most invigoratingly original American comedies since Jim Jarmusch’s Stranger Than Paradise, Drugstore Cowboy follows druggie, irregular rhythms all its own. Whether in a heavy-lidded daze or wired with giddy, post-high paranoia, Drugstore Cowboy displays an uncanny alertness to detail and texture — yellow-white bus headlights that barely penetrate the slate-grey, late-afternoon gloom on a rain-drenched north-western road; the surreal surge of blood into a hypodermic syringe as it enters a vein in intensified close-up… But the film’s vibrant aliveness to such minute sensations is submerged beneath a cold, clammy complexion: the blue-grey pallor of a day-old corpse.Read More »
Seven Men from Now is a 1956 Western film directed by Budd Boetticher and starring Randolph Scott, Gail Russell, and Lee Marvin. The film was written by Burt Kennedy and produced by John Wayne’s Batjac Productions.
Praised by the pioneering French critic Andre Bazin as “one of the most intelligent westerns I know but also the least intellectual,” this 1956 feature by the underrated Budd Boetticher stresses action over dialogue while constructing a subtle moral allegory. Randolph Scott plays an ex-sheriff trailing the seven men who murdered his wife in a robbery; along the way he picks up a bumbling couple en route to California and an outlaw (Lee Marvin, whose appealing swagger contrasts with Scott’s laconic certitude). Boetticher uses the landscape not as a metaphor for wildness but as a starkly neutral ground on which his characters play out their shifting positions, which suggests that each individual is responsible for his or her own choices. The taut opening is stunning: the protagonist strides into a tightly framed patch of ground from behind the camera, initiating his attempts to both traverse and dominate space, and the ensuing gunfire offscreen accompanies images of the horses he’ll take from the men he’s killing, a beautiful elision that emphasizes destiny over violence. This recently restored 35-millimeter print has mostly excellent color. 78 min. By Fred CamperRead More »
Bosley Crowther, NY Times, January 6, 1959 wrote:
Also on the bill at the theatre is a whimsical and amusing three-reel film, entitled “The Boy Who Saw Through,” about a lad who can see through walls. The ability is implied to be symbolic of a child’s tendency toward candor and truth. It is based on a story by John Pudney and produced by Mary Ellen Bute.Read More »