After reading the diary of an elderly Jewish man who committed suicide, freelance journalist Peter Miller begins to investigate the alleged sighting of a former S.S. Captain who commanded a concentration camp during World War II. Miller eventually finds himself involved with the powerful organization of former S.S. members, called “O.D.E.S.S.A.”, as well as with the Israeli secret service.

The.Odessa.File.1974.BDRIP.2K.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 8 min
Size: 	2.87 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.280
Audio
#1:  	English 1.0ch AC-3 @ 192 kb/s

https://nitro.download/view/0CFFF7DB7AA9FF1/The.Odessa.File.1974.BDRIP.2K.576p.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:English SDH

The post Ronald Neame – The Odessa File (1974) first appeared on Cinema of the World.

The story of two high-school students: one an intellectual but socially inept, the other a not- so-bright football hero and lady-killer.

Out.Of.It.1969.AMZN.WEB-DL.AAC2.0.H.264-BTW.mkv

General
Container:  	Matroska
Runtime: 	1 h 28 min
Size: 	1.31 GiB
Video
Codec: 	h264
Resolution: 	720x384 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 000 kb/s
BPP: 	0.302
Audio
#1:  	English 2.0ch AAC LC @ 125 kb/s

https://nitro.download/view/46ED729C4825D6F/Out.Of.It.1969.AMZN.WEB-DL.AAC2.0.H.264-BTW.mkv

Language(s):English
Subtitles:English

The post Paul Williams – Out of It (1969) first appeared on Cinema of the World.

Intent on seeing the Cahulawassee River before it’s dammed and turned into a lake, outdoor fanatic Lewis Medlock takes his friends on a canoeing trip they’ll never forget into the dangerous American back-country.

3.28GB | 1h 49m | 1024×428 | mkv

https://nitro.download/view/65CBF213B957206/Deliverance.1972.576p.BluRay.x264.mkv
or
https://tezfiles.com/file/4795cb209e5dc/Deliverance.1972.576p.BluRay.x264.mp4

Language(s):English
Subtitles:English

The post John Boorman – Deliverance (1972) first appeared on Cinema of the World.

Two gamblers must leave New York City after one loses a lot of money. Doing what all gamblers in trouble would do, they hurry to the gambling capital Las Vegas to turn their luck around.

Unlike his previous film (ugly, awful Second-Hand Hearts), this is an interesting one from Hal Ashby, where he successfully does a Cassavetes-style direction. A number of scenes look more like bloopers that usually get cut out, but that’s where improvisation can take you every now and then, and Ashby was willing to take that road, especially considering the fact that extended version is the one that probably saved all those bloopers. A successful mess that owes most of its charm to Burt Young, who is just amazing and swims in this mess like a fish.

3.40GB | 1h 59m | 1276×720 | mkv

https://nitro.download/view/222E14B6DA36396/Lookin’_to_Get_Out!_1982_720p_WEB-DL_AAC2.0_H.264-alfaHD.mkv
or
https://fikper.com/r0DVe5I03A/Lookin’_to_Get_Out!_1982_720p_WEB-DL_AAC2.0_H.264-alfaHD.mkv.html

Language(s):English
Subtitles:English

The post Hal Ashby – Lookin’ to Get Out (1982) first appeared on Cinema of the World.

Synopsis:
While investigating a high-profile murder case, a savvy but unorthodox veteran police inspector has to cope with a bad conscience, bad health, an overzealous partner, a timid superior and interference from political interests. This is an existential whodunit, but a good one, and like any good whodunit, ends with a very surprising conclusion, which will be spoiled for you if you read much of anything at all about the movie.

1.72GB | 1h 32mn | 944×576 | mkv

https://nitroflare.com/view/79DBDDC8002AD64/End.of.the.Game.1975.576p.BDRip.DD1.0.x264.mkv

Language:English
Subtitles:None

The post Maximilian Schell – Der Richter und sein Henker AKA End of the Game AKA Murder on the Bridge (1975) first appeared on Cinema of the World.

Quote:
In 1969, following an anti-establishment path blazed famously by Bonnie and Clyde, then-X-rated Midnight Cowboy lumbered into the cinema consciousness and swiped the Best Picture Oscar. While Hollywood was producing Hello, Dolly! (also nominated that year), Dustin Hoffman, Jon Voight and director John Schlesinger were chronicling the bizarre tale of a wannabe male prostitute and a sickly cripple trying to survive together on the New York City streets.

Academy voters had a lot to be impressed with — tenacious, unrelenting performances, Waldo Salt’s fearless screenplay adaptation — but, perhaps they were also swayed by Midnight Cowboy’s distinct feeling Schlesinger paints New York as an uncomfortable amalgam of society ladies and society dregs, a city slathered in advertising messages, covered in money and hopping with cheap hustlers. In the last 35 years, the word “gritty” has often been used to sum up the film, accurately, usually referring to the disgusting abandoned apartment our two protagonists call home.

Hoffman, in his first lead role since The Graduate, is Enrico “Ratso” Rizzo, a limping, slimy looking loser who wanders the streets aimlessly, trolling payphones for change and dreaming of moving to Florida. Voight, in his breakout after six years of TV work, plays Joe Buck, an ultra-naïve Texas boy who comes to New York with delusions of Park Avenue women paying him for sex.

A fool and his money are soon parted, of course, and Buck (“I’m not a real cowboy, but I’m one hell of a stud!”) is broke and homeless quickly. After Ratso meets Joe at a bar — and promptly rips him off — he eventually offers up his condemned, heat-free living space, and the two bond in an unexpected way that is both awkward and touching.

There’s a sad symbolism to the lead roles that makes the characters’ simpatico even more tragic. Buck, the strapping Texan, eyes his New York future like a modern-day immigrant. His image of rich dames in bed is about as false as the adage about streets made of gold, and his lack of urban savvy means he doesn’t speak the language either. Ratso is New York itself circa 1969, welcoming to a point, cynical, and heading toward certain crumbling. Together, they work low-level shoplifting, attend a Factoryesque party — where they pretty much fit in — and fantasize about magic bus tickets to Miami.

In the years since the film’s initial release, as Voight’s become an acclaimed performer and Hoffman an acting superstar, images from Midnight Cowboy have become iconic. Nearly every movie fan has seen the lonely photo of Voight with his trademark cowboy hat and a scruffy Hoffman with greased-back hair. There’s Hoffman hollering, “Hey, I’m walking here!” at a stray taxicab. And there’s the pair’s freaky pas de deux set to a radio jingle for orange juice.

In perfect step with the acting and setting is the superb editing by Hugh A. Robertson, also nominated for his work. In addition to choosing an ideal rhythm for the one-on-one sequences, he also creates uncomfortable jigsaw puzzles of images, rat-a-tatting troubled pasts and a troubling New York to an unsuspecting audience. The editing contributes in making Midnight Cowboy a maverick effort, much like the editing of another tide-turner from 1969… Easy Rider. The world was going to change.

https://nitro.download/view/45773347686D1B8/John_Schlesinger_-_(1969)_Midnight_Cowboy.mkv

Language(s):English, Italian
Subtitles:English, French, Portuguese

The post John Schlesinger – Midnight Cowboy (1969) first appeared on Cinema of the World.