imdb:
German terrorists kidnap the crew of an aeroplane as they leave the airport. The terrorists demand the release of two of their colleagues, who are to be extradited to the USA. The father of one of the stewardesses decides he can no longer wait for diplomacy, and so flies out to Germany. There, frustration leads him to hire a former SAS counter-terrorism expert. Together they hunt down the terrorists.

A.Fathers.Revenge.1988.DVDRip.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	1h 32mn
Size:	1.64 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	696x480 ~> 696x539
Aspect ratio:	1.289
Frame rate:	23.976 fps
Bit rate:	2 329 kb/s
Audio
English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/1D147DC38CC0FFD/A.Fathers.Revenge.1988.DVDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:none

The post John Herzfeld – A Father’s Revenge (1988) first appeared on Cinema of the World.

Still recuperating from his wife’s untimely death, a lawyer must defend his probably dirty brother-in-law, a stockbroker under investigation. He discovers that everyone has dark secrets, including himself.

The Burden of Proof (1992).mkv

General
Container:	Matroska
Runtime:	3h 3mn
Size:	1.77 GiB
DXVA:	Compatible
Minimum settings:	Not met
Video
Codec:	x264
Resolution:	640x480
Aspect ratio:	4:3
Frame rate:	29.970 fps
Bit rate:	742 kb/s
Audio
English 5.1ch AC-3 @ 640 kb/s

https://nitro.download/view/A461F82B83B97C9/The_Burden_of_Proof_(1992).mkv

Language(s):English
Subtitles:None

The post Mike Robe – The Burden of Proof (1992) first appeared on Cinema of the World.

Quote:
Gorky Park, in both the original novel by Martin Cruz Smith and the movie adaptation scripted by the legendary Dennis Potter (Pennies from Heaven and The Singing Detective), introduced one of the most intriguing fictional detectives of the last half century: Chief Investigator Arkady Renko of the Moscow police force in the former Soviet Union. Like all great detectives, Renko is committed to truth and justice, but he has to pursue them in a system that owes its very existence to secrecy, lies and concealment. This fundamental conflict runs through all of Renko’s cases, along with a conflict-ridden family history, including a famous general of a father who disapproved of his son’s choice to pursue a career in law enforcement.

The first of eight Renko novels, Gorky Park, became an international bestseller in 1981. The film was released two years later by the now-defunct Orion Pictures. Director Michael Apted may have directed a Bond film (The World Is Not Enough), but, as he says in the 2014 interview included on this Blu-ray edition, he is a documentary filmmaker at heart, whose most enduring work may turn out to be the Up Series biographies begun in 1964, of which the most recent installment is 56 Up. When Apted was denied permission to film in the Soviet Union (which claimed that no crime existed in its perfect society), he and his production designer did their best to recreate Russia in Finland and Moscow in Helsinki, but Apted always felt frustrated that he wasn’t able to show the “real” Moscow.

Still, those limitations may have worked in Gorky Park’s favor over the long run. Later films from The Russia House (1990) to Mission Impossible: Ghost Protocol have shown us such sights as the Kremlin and Red Square often enough that the cinematic novelty has worn off. Gorky Park is about the work of a meticulous, thoughtful cop, who pores over files and follows leads into parts of town that are not featured in the guidebook. The generic quality of the film’s locations suits both the subject matter and the film’s hero, who describes himself as “a plodding investigator, no style”. Of course, the same was true of Lieutenant Columbo, and criminals never got past him either.

Renko (William Hurt) and his reliable lieutenant, Pasha (Michael Elphick), have a case that they really don’t want. In fact, Renko’s friend, the chief pathologist (Henry Woolf) tells him so, while performing a post mortem the next morning. Three bodies have been found buried in the snow in Moscow’s Gorky Park with all identifying features removed, including their faces. Everything about the case reeks of professional intrigue, including the fact that the KGB arrive on the scene almost as quickly as the police, led by Renko’s personal nemesis, Major Pribluda (Rikki Fulton). It’s as if Pribluda knew the bodies were there, and Renko would be all too happy to let Pribluda and his goons have the case so they can bury it again.

But Renko’s boss and patron, Chief Prosecutor Iamskoy (Ian Bannen), urges him to continue investigating. Things are changing, says Iamskoy. The KGB is getting weaker, while the civilian authorities are gaining power. Iamskoy will back the Chief Investigator, wherever his inquiry may lead.

And Renko’s inquiry does indeed lead to unexpected and perilous places. One of the victims wore ice skates belonging to a Siberian university student, Irina Asanova (Joanna Pacula), who was expelled for radical activities and now works as a seamstress for the movies. Not surprisingly, she is unwilling to talk to the police. But Irina can also be found in the company of a wealthy American businessman, Jack Osborne (Lee Marvin, who was ailing at the time, but you’d never know it from his confidently focused performance). Osborne is involved in the fur trade for prized Russian sables, and he is so well connected that he seems to glide easily through the highest levels of Soviet society. He’s clearly a villain, but are his crimes purely economic? (He barely meets Renko before he’s offering the policeman a bribe.)

Other mysterious characters hover around the edges of the investigation. One furtive figure turns out to be an American of Russian extraction named Kirwill (Brian Dennehy), who tails Renko for reasons unknown. Another is a used car dealer named Golodkin (British comedian Alexei Sayle), who has a few other businesses on the side. And there’s the eccentric Prof. Andreev (Ian McDiarmid, best known as Emperor Palpatine in the Star Wars prequels), who is strictly an academic but has a gift for reconstructing the faces of historical figures from archaeological evidence. Despite the professor’s reluctance, Renko persuades him to undertake a painstaking facial reconstruction of two of the Gorky Park victims, with startling results. Meanwhile, shadowy assassins do their best to add to the body count, as someone tries to tie up loose ends. From the methods, Renko is certain the KGB is involved, but what are they covering up?

Apted effectively creates the paranoid atmosphere of a society in which anyone may be a spy or an informer. In groups of people, he will pick out someone who is staring at Renko, his men or anyone appearing to cooperate. Perhaps the person is curious; perhaps they are momentarily distracted; or perhaps they are preparing a report for a KGB handler. In this world, you never know, and much of the “plodding” investigator’s success results from his ability to size up people, to separate the dissemblers from the trustworthy. The latter include Pasha and Renko’s close friend, a lawyer named Anton (played by the late Richard Griffiths, best known as Harry Potter’s unpleasant Uncle Vernon). If Renko doesn’t always get it exactly right, it’s because he has learned the hard way that sometimes one must make deals with the devil in order to achieve as much justice as possible in a system that routinely deducts justice from the equation.

Gorky Park.1983.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	2 h 8 min
Size: 	2.91 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.221
Audio
#1:  	English 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/066BEA89516A16F/Gorky_Park.1983.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English

The post Michael Apted – Gorky Park (1983) first appeared on Cinema of the World.

The complicated relationship between physicist Leo Szilard, scientist J. Robert Oppenheimer and General Leslie Groves. Assigned to oversee the project, Groves chooses Oppenheimer to build the historic bomb. However, when World War II inspires the government to use the weapon, Szilard reconsiders his opinions about atomic warfare.

Quote:
An accurate picture of a chilling piece of history
Arnold Harris23 June 2000
Day One by far is the best and most accurate full-scope portrayal of the events and people who ushered in the then-fantastic dawn of nuclear warfare. Perhaps it is the best portrayal merely because it is the most accurate and wide context picture of the what happened behind the scenes from 1933 to 1945. I was 11 years old and a schoolchild in Chicago that early August day 1945 when the world learned of the nuclear explosion over Hiroshima, to be followed up by the relatively forgotten “afterthought” atomic bomb dropped on Nagasaki a few days later. Now, at 66, I can look back on 1933-1945 and the age of cold war-enhanced nuclear terror that followed it in some broader and clearer perspective.

Day One is actually three sequential and somewhat overlapping stories. The first story could be labeled “the Nuclear Theoreticians and Dreamers”. It is essentially the story of Leo Szilard, Enrico Fermi, Edward Teller and a few other academics, mostly European Jews who fled to the west as refugees from the Europe that Adolf Hitler was taking over and threatening. Their interest was essentially a nuclear weapon that could be used to counter the one they expected Hitler to develop.

Almost from the moment the United States government began taking a serious interest in their work, just prior to the Pearl Harbor attack in December 1941, commenced “the Project”. With this commenced a series of major experiments in applied science and industrial engineering for purposes of creating the raw materials of atomic weapons — Plutonium and Uranium 235 — and for designing and building the actual bombs and trigger mechanisms needed to turn scientific theory into nuclear explosive reality. This succinctly describes the Manhattan Project, code name for the biggest and best kept secret in history, operated at a vast, hidden desert facility near Los Alamos, New Mexico under control of the brilliant Dr Robert Oppenheimer and the hard driving US General Leslie Groves.

From about the time Harry S Truman succeeded the dead Franklin Roosevelt as US president in April 1945 — three months before the day of Trinity — codename for the first atomic bomb test in New Mexico in the early morning hours of July 16, 1945 — the project came under full control of the civil and military leadership of the wartime United States: Truman himself, secretary of state James Byrnes, secretary of war Henry Stimson, chief of staff George C Marshall, Fleet Admiral William Leahy and a few others, formed into a committee to decide national policy for the use of the shortly expected super weapons. General Groves and Dr Oppenheimer were members of this select committee, and their suggestions drove the policy that committed the United States to actual use of the bombs against Japan, which still fought on after the death of Adolf Hitler and the complete destruction of National Socialist Germany. But the true controlling power was in the hands of Byrnes and Truman himself. They were determined to end the bloody war against Japan — and gain diplomatic mastery over Josef Stalin’s Soviet Union — through use of the most overwhelming weapons in human history. Besides, they argued, how could the Truman administration justify to the United States Congress spending the then-princely sum of $2 billion and deploying scores of thousands of manpower, developing a weapon that we could never dare use against a real enemy — at a time when there was one American combat casualty for every two Japanese on every island that this country had invaded over the past two years? The horror of it is that it is still a compelling argument even today, 55 years later. So, against the futile arguments of some of the early nuclear theoreticians, the ultimate weapons were used — for the first and so far only times — twice in one week in August 1945 and thereby instantly ended World War II

Day One is told in the remorselessly cold and nondramatic style of documentary history. The dialogue from the meetings presided over by Byrnes and Stimson was taken direct from the released historical records. The color film of the Trinity explosion in New Mexico was real, not re-created. The film of the flight of the Enola Gay, the B-29 bomber that released the Hiroshima bomb, was the authentic black and white film made during the flight. The voices over the plane’s intercom — “My God, what have we done?” — are all real. The utter reality of it all has glued me to my seat and riveted my attention through three or more viewings.

Day.One.1989.DVDRIP.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 20 min
Size: 	2.15 GiB
Video
Codec: 	x264
Resolution: 	708x480 ~> 708x531
Aspect ratio:  	4:3
Frame rate: 	24.261 fps
Bit rate: 	2 000 kb/s
BPP: 	0.243
Audio
#1:  	English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/9E5E2D3C2494047/Day.One.1989.DVDRIP.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:None

The post Joseph Sargent – Day One (1989) first appeared on Cinema of the World.

A hitman approaches a writer to help him create his next best seller, but the violent world he was a part of has other plans.

1.79GB | 1h 35m | 1024×554 | mkv

https://nitro.download/view/423C10FCEDCAAA8/Best.Seller.1987.BDRip.AVC.mkv

Language:English
Subtitles:English

The post John Flynn – Best Seller (1987) first appeared on Cinema of the World.

Jeweller Phillippe Golden purchases one of the largest diamonds ever from an auction. Diamond thief Rick Dunne is released from prison to consult in constructing safety precautions. However, Inspector Outlaw suspects that Rick may be up to his old wiles.

1.35GB | 1h 27mn | 690×570 | mkv

https://nitro.download/view/8D06A5B4F6DEEDF/The.Diamond.Fleece.1992.PAL.DVDRip.x264.AC3.mkv
or
https://fikper.com/BrG8seP8rj/The.Diamond.Fleece.1992.PAL.DVDRip.x264.AC3.mkv.html

Language:English
Subtitles:Spanish

The post Al Waxman – The Diamond Fleece (1992) first appeared on Cinema of the World.

Quote:
STOURLEY KRACKLITE (Brian Dennehy), the central figure in Peter Greenaway’s ”Belly of an Architect,” is at one point seen reflected in the central panel of a triptych mirror in his Rome apartment, wearing a blood-red robe and flanked by multiple Xerox copies of classically sculpted abdomens, copies he has made from photographs of Roman statuary. It’s a perfect moment, or at least the kind of perfect moment Mr. Greenaway favors: orderly, symmetrical and obscure, offering great compositional beauty but no compelling reason why its riddles require solution.

At another point in the film, Mr. Greenaway considers the fact that the British one-pound note bears not just a likeness of Sir Isaac Newton but also of some apple blossoms, which constitute a veiled reference to gravity. It’s an interesting fact but also a self-contained one, and it’s just the kind of information that floats untethered throughout the film.

Without question, Mr. Greenway deserves credit for naming his hero Stourley Kracklite, calling his villain Caspasian Speckler, and using his film to celebrate Rome and its architecture with such elegance and discernment. But ”The Belly of an Architect” may have as much to do with one man’s intestinal maladies as with art, beauty, obsession, permanence and mortality, subjects to which it also pays some attention. It’s hard to know. And watching the film’s visual obsessiveness – with architectural shapes and symmetry, with cool, stationary long shots, even with the marble surfaces and deep, velvety tones that give it visual texture – becomes an ever less rewarding pursuit as the measure of the film’s solipsism becomes known.

Kracklite, a renowned American architect, is first seen making love to his wife, Louisa (Chloe Webb), on a train bound for Rome, where he will live for nine months while staging an exhibition in honor of the French architect Etienne-Louis Boulee, a man who never traveled. The trip marks not only the birth of Kracklite’s tribute but also the conception of a Kracklite heir, though this is not discovered until later in the story. When it is, Kracklite wants to know on which side of the border the child was conceived; such are his and the film’s passion for detail.

While in Rome, Kracklite becomes more and more obsessed by Boulee, by architecture and by his own innards, which begin to bother him. He rails against Louisa, suspects her of trying to poison him (an idea, like many of Kracklite’s, generated by proximity to ancient Roman culture), and develops the belly fixation that induces him to study many photographs of Louisa’s belly, the Emperor Hadrian’s and his own. Mr. Greenaway accompanies these developments with dialogue rich in gamesmanship (”Are you a modern architect?” ”No more modern than I should be”) and with an extraordinary succession of studied, perfectly composed images. There is almost always an archway in the center of the frame. And in the center of that archway is, almost invariably, Kracklite.

Mr. Greenaway brings a welcome playfulness to some of this, as when he fuses the film’s concerns with ancient art and bodily deterioration into the figure of a man who surreptitiously chips the noses off statues (and has quite a collection). However, there’s nothing do be done with the film’s essential elusiveness, and in any case Mr. Greenaway seems to prefer it that way. ”The Belly of an Architect” does have a humanizing element in the form of Mr. Dennehy, who brings a robust physicality to Kracklite without missing the essentially cerebral nature of the role; this is one of the best things he has done. And as the highly undependable Louisa, quite unrecognizable from her ”Sid and Nancy” role, is Chloe Webb, who’s full of taunting flirtatiousness and speaks in a sleepwalker’s tone.

3.36GB | 1 h 59 min | 1024×552 | mkv

https://nitro.download/view/735D375A6C78A46/Peter_Greenaway_-_(1987)_The_Belly_of_an_Architect.mkv

Language(s):English, Italian
Subtitles:English

The post Peter Greenaway – The Belly of an Architect (1987) first appeared on Cinema of the World.