An intelligence agent discovers a Nazi plot to revive the Third Reich by using clones.

The.Lucifer.Complex.1978.PAL.DVDRip.x264.AC3.mkv

General
Container:	Matroska
Runtime:	1h 30mn
Size:	1.44 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	694x560 ~> 746x560
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Audio
English 2.0ch AC-3 @ 256 kb/s

https://nitro.download/view/39E14C866D31B15/The.Lucifer.Complex.1978.PAL.DVDRip.x264.AC3.mkv

Language(s):English
Subtitles:None

The post Kenneth Hartford and David L. Hewitt – The Lucifer Complex (1978) first appeared on Cinema of the World.

Synopsis:
In this musical, Broadway producer Steve Farraugh is in Rio to preview a show he plans to take to New York. The star of the production, Linda Lorens, pines for Steve, but he is still in love with his estranged wife, Vicki, who arrives in Rio with divorce papers and her new fiancé, John Habour, in tow. Steve concocts a plan to win Vicki back, but, amid a slew of song-and-dance numbers, all goes awry.

The.Thrill.of.Brazil.1946.PDTV.XviD-CG.avi

General
Container:  	AVI
Runtime: 	1 h 31 min
Size: 	987 MiB
Video
Codec: 	XviD
Resolution: 	640x480 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	1 299 kb/s
BPP: 	0.176
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#1:  	2.0ch MP3 @ 192 kb/s (The.Thrill.of.Brazil.1946.PDTV-CG T80 2_0ch 192Kbps DELAY 0ms)

https://nitro.download/view/0DC6BA78BB93B6B/The.Thrill.of.Brazil.1946.PDTV.XviD-CG.avi

Language(s):English
Subtitles:(none)

The post S. Sylvan Simon – The Thrill of Brazil (1946) first appeared on Cinema of the World.

Story of how a group of incorruptible federal lawmen helped put 1920s’ Chicago gangster Al Capone in prison.

The.Scarface.Mob.1959.DVDRip.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	1 h 42 min
Size: 	1.57 GiB
Video
Codec: 	x264
Resolution: 	716x480 ~> 716x537
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
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#1:  	English 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/64609143255F89D/The.Scarface.Mob.1959.DVDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:English, Spanish

The post Phil Karlson – The Scarface Mob (1959) first appeared on Cinema of the World.

Point Blank is a 1967 American crime film directed by John Boorman, starring Lee Marvin and featuring Angie Dickinson, adapted from the crime noir pulp novel The Hunter by Donald E. Westlake, writing as Richard Stark. Boorman directed the film at Marvin’s request and Marvin played a central role in the film’s development and staging. The film was not a box office success in 1967 but has since gone on to become a cult classic, eliciting praise from such critics as film historian David Thomson.

Production
Director John Boorman met Lee Marvin while on the set of The Dirty Dozen in London. Boorman and Marvin talked about a script based on the book The Hunter. Both hated the script but loved the main character of Walker. When they agreed to work on the film, Marvin threw the script out the window. Marvin called up a meeting with the head of the studio, the producers, his agent and Boorman. Boorman recalls, “[Marvin] said, ‘I have script approval?’ They said ‘yes’. ‘And I have approval of principal cast?’. ‘Yes’. He said, ‘I defer all those approvals to John [Boorman].’ And he walked out. So on my very first film in Hollywood, I had final cut and I made use of it.”

The unusual structure of the film was due in part to the original script and developments during the course of shooting the film. Rehearsals took place at Marvin’s house in Los Angeles. On the rehearsal day in which Marvin asked Sharon Acker what happened to the money, Marvin had lines which he did not speak and forced Acker to continue the conversation on her own. “I saw right away he was right,” replied Boorman, “Lee never made suggestions. He would just show you.” So Boorman changed the lines in the script so that Acker would essentially ask and answer Marvin’s questions, and the result is in the finished film. “It made a conventional scene something more,” added Boorman.

This was the first film ever to shoot at Alcatraz, the infamous prison which had been shut down since 1963, only three years before the production. Two weeks in the abandoned prison facility required the services of 125 crew members. While Marvin and Wynn enjoyed shooting on location, Wynn was concerned about the weather and the need to loop half the dialogue. During the shoot, Angie Dickinson and Sharon Acker modeled contemporary fashions for a Life magazine exclusive against the backdrop of the prison. Acker was accidentally hurt by the blanks that Vernon used to shoot at Marvin early in the film.

Director Boorman chose locations that were “stark.” For example, the airplane terminal walkway that Marvin walked down originally had flower pots lining the walls. Boorman had the pots taken out to “make it all bare.”

After Boorman showed the finished cut to executives, they were “very perplexed and mumbling about reshoots”. Margaret Booth, a legendarily traditional-minded supervising editor on the picture, told Boorman as the execs filed out, “You touch one frame of this film over my dead body!”
Reception

In her 1967 New Yorker review of Bonnie and Clyde, Pauline Kael wrote: “A brutal new melodrama is called Point Blank, and it is.” Kael later called the film “intermittently dazzling”. Roger Ebert gave the film three out of four stars and said “as suspense thrillers go Point Blank is pretty good.” Leonard Maltin gave the film three and a half stars: “Taut thriller, ignored in 1967, but now regarded as a top film of the decade.”

Slant Magazine reviewer Nick Schager notes in a 2003 review: “What makes Point Blank so extraordinary, however, is not its departures from genre conventions, but Boorman’s virtuoso use of such unconventional avant-garde stylistics to saturate the proceedings with a classical noir mood of existential torpor and romanticized fatalism.”

The film has a 97% fresh rating on Rotten Tomatoes.

Themes
Viewers and critics have often questioned whether or not the film is really a dream that Walker has after he is shot in the very beginning. Director Boorman claims to not have an opinion on the matter. “What it is is what you see,” responded Boorman. Steven Soderbergh has described Point Blank as “memory film” for Marvin. Boorman believes the film is about Lee Marvin’s brutalizing experiences in World War II, which dehumanized him and left him desperately searching for his humanity.

Style
Point Blank combines elements of film noir with stylistic touches of the European nouvelle vague. The film features a fractured time-line, disconcerting narrative rhythms (long slow passages contrasted with sudden outbursts of violence) and a carefully calculated use of film space (stylized compositions of concrete riverbeds, sweeping bridges, empty prison cells). Boorman credits Marvin with coming up with a lot of the visual metaphors in the film. Boorman said that as the film progressed, scenes in the film would be filmed monochromatically around one particular color (the chilly blues and grays of Acker’s apartment, Dickinson’s butter yellow bathrobe, the startling red wall in Vernon’s penthouse) to give the proceedings a “sort of unreality”.

To establish Walker’s mythic stature, Soderbergh noted in the commentary that the film cuts from a shot of Walker swimming from Alcatraz to a shot of him on a ferry overlooking the same island while a woman on the loudspeaker describes the impossibility of leaving the island. Soderbergh said that this contrast of the character’s ease of escape with the loudspeaker’s monologue makes the Walker character “mythic immediately.”
Legacy

Point Blank is hailed in the book 1,001 Movies You Must See Before You Die as “The perfect thriller in both form and vision.” Film historian David Thomson calls the film a masterpiece. Thomson adds, “[…] this is not just a cool, violent pursuit film, it is a wistful dream and one of the great reflections on how movies are fantasies that we are reaching out for all the time—it’s singin’ in the rain again, the white lie that erases night.” Director Steven Soderbergh has said that he used stylistic touches from Point Blank many times in his filmmaking career.

The Hunter was also the basis for Brian Helgeland’s Payback (1999), starring Mel Gibson. Director Boorman has joked that Payback was so bad that Mel Gibson must have taken the original script for Point Blank that Boorman and Marvin had thrown out.

Influence
On March 29, 1968, Point Blank was screened at Cinelândia movie theaters in order to protest the murder of 18-year-old high school student Edson Luís de Lima Souto by the Military Police of Rio de Janeiro. Souto was shot at point-blank range. Phrases such as “Do bullets kill hunger?”, “Old people in power, young people in coffin”, and “They killed a student… what if it was your son?” were written by protesters in the movie posters. The aftermath of Souto’s death was one of the first major public protests against the Brazilian military government.

Point Blank.mkv

General
Container: Matroska
Runtime: 1h 31mn
Size: 1.54 GiB
Video
Codec: x264
Resolution: 1024x440 
Aspect ratio: 2.35:1
Frame rate: 23.976 fps
Bit rate: 1 999 Kbps
BPP: 0.185
Audio
#1: English 1.0ch AC-3 @ 192 Kbps
#2: English 1.0ch AC-3 @ 192 Kbps (commentary)

https://nitro.download/view/F773FDBA2573466/Point_Blank.mkv

https://fikper.com/U9bpvzfcT2/Point_Blank.mkv

Language(s):English, Audio Comm
Subtitles:English French Spanish German Japanese

The post John Boorman – Point Blank (1967) first appeared on Cinema of the World.

A professional hit man is planning to retire, always a difficult move for one in such a profession. A young apprentice appears to be eager to learn all the skills of the trade – but is that all he wants?

+Commentary with Bronson biographer Paul Talbot

2.38GB | 1h 39m | 1024×556 | mkv

https://nitro.download/view/BB2AAEF177DCAD2/The.Mechanic.1972.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):English
Subtitles:English

The post Michael Winner – The Mechanic (1972) first appeared on Cinema of the World.

During a stakeout, an L.A. cop kills a doctor who presumably pulled a gun but the coroner’s inquest finds no gun, forcing the cop to look for it to clear his name.

Letterboxd reviews
Quote:
★★★ Added by mattstechel 03 Jul 2021

Pretty good 60s era mystery that noir maestro Eddie Muller specifically picked for his later Hollywood noir series that’s airing on Friday nights on TCM this month. Normally his Saturday latenight noir series only focuses on 40s and 50s noirs and neglected B pictures from that time so this was a chance for him to showcase some of the noirs that he’s a fan of that were made later on. In the intro co-host Ben Menkiewicz even admitted that he had never heard of it before Muller had picked it to show for the night, (Muller btw seemed very psyched that TCM managed to get the rights to show it, tho its a Paramount distributed film so I’m not sure why the rights to show it would be that hard to come by) They both agreed that even tho its a very tightly made film, that it also plays more like an episode of a tv series from the time since its more concerned with churning thru plot than it is atmosphere or character (But it definitely felt like this movie had both in spades) This is most likely because it was originally meant to be a TV Movie that got bumped up to theatrical release when the tv censors at the time deemed it a bit too violent for broadcast at the time. (Tho i mean i’d assume it turned up on network tv eventually–i mean the movie is stacked with familiar tv faces–not just star David Janssen but Caroll O’Connor turns up as a judge!)

Anyways the plot is nice and straightforward— a cop on stakeout to try and catch a killer ends up getting into a scuffle with a guy fleeing the scene and the cop ends up shooting him dead claiming the guy had pulled a gun on him. When no gun turns up at the scene, the cop is charged with murder as apparently the guy who got shot had a clean record. It looks kinda bad for the cop as public sentiment is soon whipped up against him by the local media. (There’s a local talk show host played by the inventor of the pog himself Steve Allen–who seems to have it out for our cop) and indeed there’s soon protests outside the station against excessive force and police brutality. (ha!) The local DA himself the son of a man beaten to death by policemen wants to make an example out of our cop and so the cop has no choice but to try and investigate why the guy he shot would’ve had a gun or why that guy would’ve even been at the very place the cop was staking out. The idea that our hero has to clear his own name is one that’s been done many a time, but the wrinkle that in order to clear his own name our hero has to dig up dirt on the guy he’s being charged with murdering is I thought a pretty nifty one.

Along the way he gets beaten up by the murdered man’s teenage son, and clashes with the ex wife, and he meets a couple of characters–a movie like this, you know there’s gonna be several red herrings dangling out there. Its not a great movie for the ages to be fair, but its a pretty effectively suspenseful one and David Janssen gives a solid tight lipped stiff jawed, intense leading man performance. (One that if looked at from the right perspective could be the type of performance that Leslie Nielsen was parodying in The Naked Gun movies but also definitely one that was in classic noir tradition as well–if this weren’t intended to be a TV Movie, it wouldn’t be too hard to see like Glenn Ford or Dana Andrews or even the ultimate clench jawed actor–the man who will forever reminds me of Calculon–Jeff Chandler— in this role.) Overall it was pretty rock solid. (Now the question is will i remember it in the future???)

Quote:
★★★½ Watched by JP Evans 03 Feb 2018

David Janssen’s cop shoots dead a suspected killer on a foggy late night stakeout when he has a gun pulled on him. Only it’s not the suspected killer at all, rather a seemingly saintly doctor doing a late night house call. And there’s no gun to be found at the scene…

As he faces a murder charge Janssen has 10 days to clear his name or it’s prison for sure. Warning Shot touches on contemporary concerns about dirty cops as everyone abandons Janssen believing him a liar or just crazy. We know he’s neither because it’s David doing his best sincere stand-up guy routine.

What makes this good is that he’s surrounded by plenty of subtly out-there support, from the likes of Lillian Gish’s dotty lady via George Grizzard’s smooth playboy pilot and a wonderful Eleanor Parker as the dead doc’s soused and horny widow.

Janssen anchors the film, but under its apparently straightforward surface is a movie that’s pretty batshit and all the better for it. Add to this a superb jazzy score by Jerry Goldsmith and it’s definitely worth seeking out.

3.91GB | 1h 49m | 1920×1080 | mkv

https://nitro.download/view/F5615F11AAEE21F/Warning.Shot.1967.1080p.TCM.WEB-DL.AAC2.0.x264-PLiSSKEN.mkv

Language(s):English
Subtitles:English

The post Buzz Kulik – Warning Shot (1967) first appeared on Cinema of the World.

Synopsis:
Irascible and domineering millionaire Walter McCoy marries the beautiful, but shady and duplicitous Karen Petrie. Walter’s son Steve automatically becomes smitten with Karen while both Walter’s daughter Cynthia and loyal housekeeper Sarah suspect that something is up. This provokes a tangled web of deception, infidelity, and even murder.

2.82GB | 1h 35mn | 1024×576 | mkv

https://nitroflare.com/view/E41026678B2C542/A.Woman.for.All.Men.1975.576p.BDRip.x264.mkv

Language:English
Subtitles:English (muxed)

The post Arthur Marks – A Woman for All Men (1975) first appeared on Cinema of the World.