Vampish miss Dolan hires hardboiled P.I. Harry Dobbs to tail her shady boyfriend. Harry realizes that the man leads a double life but then his client disappears. Harry teams up with his own tail, P.I. Stella Wynkowski, to clear things up.

Love.At.Large.1990.576p.BluRay.AAC.x264-HANDJOB.mkv

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Container:  	Matroska
Runtime: 	1 h 37 min
Size: 	2.73 GiB
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Codec: 	x264
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https://nitro.download/view/82078268CA88E03/Love.At.Large.1990.576p.BluRay.AAC.x264-HANDJOB.mkv

https://rapidgator.net/file/4cdd88c12543ad9e37a7a4a06b7356ca/Love.At.Large.1990.576p.BluRay.AAC.x264-HANDJOB.mkv

Language(s):English
Subtitles:None

The post Alan Rudolph – Love at Large (1990) first appeared on Cinema of the World.

Undersecretary of the Navy Theodore Roosevelt resigns to form a volunteer militia unit called “The Rough Riders” to fight in the Spanish-American War.

Rough.Riders.1997.DVDRip.x264-GQ.mkv

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Container:  	Matroska
Runtime: 	3 h 3 min
Size: 	3.22 GiB
Video
Codec: 	x264
Resolution: 	720x540 
Aspect ratio:  	4:3
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Bit rate: 	2 268 kb/s
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https://nitro.download/view/18DC24C0C377C0F/Rough.Riders.1997.DVDRip.x264-GQ.mkv

Language(s):English
Subtitles:English,French,Spanish

The post John Milius – Rough Riders (1997) first appeared on Cinema of the World.

From All Movie Guide:
While the audience watches a black and white horse opera, a narrator’s voice wonders what such a movie would be like today…

An amusing spoof of the good ‘ole westerns back in the halcyon days when all the cliches were held up as icons, this parody by Hugh Wilson works best for savvy audiences. Rex O’Herlihan (Tom Berenger) is a singing cowboy with a wardrobe straight out of the Hollywood westerns of the ’40s – he worships his horse, amend has a trusty sidekick too. Every town he wanders into has a sheriff on the dole, a shady cattle rancher, a prostitute with a heart of gold, an innocent young damsel, a town drunk, and the standard bad guys in black hats and long coats (Spaghetti-western style) who brutalize the poor sheep ranchers. After setting things straight in each identical town as goes, Rex is beginning to feel like a re-run junky, when he saunters into a town that is slightly different – and the parodies continue.

Rustlers' Rhapsody.1985.DVDRip.x264.mkv 1.72GB
General
Container: Matroska
Runtime: 1h 28mn
Size: 1.72 GiB
DXVA: Compatible
Minimum settings: Not met
Video
Codec: x264
Resolution: 720x480 ~> 853x480
Aspect ratio: 16:9
Frame rate: 23.976 fps
Bit rate: 2 017 Kbps
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https://nitro.download/view/A971501D9124037/Rustlers’_Rhapsody.1985.DVDRip.x264.mkv

Language(s):English
Subtitles:None

The post Hugh Wilson – Rustlers’ Rhapsody (1985) first appeared on Cinema of the World.

From Time Out Film Guide
There is something to be said for Liliana Cavani, but it is difficult to remember what it is. The cruelty of her Night Porter was ruined by sentimentality, and Beyond Good and Evil managed to conflate Nietzsche and Robert Powell in a ménage à trois. Beyond the Door is the usual mix of cheapjack sentiment, cutprice Freudian familial relations, and a baffled cast running way over boiling point. Giorgi (a madonna face) keeps her stepfather Mastroianni (or maybe he’s her father) in a Moroccan prison after faking evidence against him over her mother’s death, so that she can keep her claws on his body, which she desires far more than the American oilman (Berenger, looking like a young Paul Newman) who desires her like mad but can’t understand what’s going on here. Un peu tortueuse, hein? There are some dinky touristique scenes in the brothels of Marrakesh, that mosaic city which caters to the devices and desires of your heart; but it should all have been made in hardcore by Gerard Damiano (Behind the Green Door). CPea.

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Language(s):Italian
Subtitles:English

The post Liliana Cavani – Oltre la porta aka Beyond Obsession aka Beyond The Door (1982) first appeared on Cinema of the World.

Plot Synopsis from Allmovie
Embraced by the Baby Boomer generation and spawning countless imitators, the sophomore film of writer-director Lawrence Kasdan was a successful comedy-drama with a best selling soundtrack of Motown hits. Kevin Kline and Glenn Close star as Harold and Sarah Cooper, a couple whose marital troubles are put on hold while they host an unhappy reunion of former college pals gathered for the funeral of one of their own, a suicide victim named Alex. As the weekend unfolds, the friends catch up with each other, play the music of their youth, reminisce, smoke marijuana, and pair off with each other in unexpected combinations. Included are Michael (Jeff Goldblum), a smarmy journalist; Sam (Tom Berenger), a TV star; Karen (JoBeth Williams), unhappily married and pining for Sam; Nick (William Hurt), a drug-addicted Vietnam vet; and Meg (Mary Kay Place), a single career woman who wants a child. Joining the group is Alex’s bizarre girlfriend Chloe (Meg Tilly), who finds new love with Nick. As they learn to deal with the truth about the loss of idealism in their lives and Alex’s sad demise, the friends find their bond still intact, while the marriage of Harold and Sarah is healed in an unusual way that’s in sync with the era of their youth. Cut from the release of The Big Chill (1983) was the brief appearance of young actor Kevin Costner as Alex. Kasdan promised Costner a role in his next picture, which turned out to be a star-making part in Silverado (1985).

Kevin Costner’s sole contribution to this film:

1.46GB | 1:45:04 | 720×400 | avi

https://nitro.download/view/A83A161163AB527/Big_Chill,_The_(1983).avi

Language:English, French, Spanish
Subtitles:none

The post Lawrence Kasdan – The Big Chill (1983) first appeared on Cinema of the World.

Two American mercenaries and a missionary couple arrive in a remote outpost, the Amazonian backwater town Mae de Deus. The local comandante tries to coerce the mercenaries into bombing the local tribe of Niaruna Indians so that their land can be annexed for gold mining.

Brincando.nos.Campos.do.Senhor.1990.720p.WEB-DL.AAC2.0.H.264-alfaHD.mkv

General
Container:  	Matroska
Runtime: 	3 h 6 min
Size: 	4.86 GiB
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Language(s):English
Subtitles:Portuguese

The post Hector Babenco – At Play in the Fields of the Lord (1991) first appeared on Cinema of the World.

Quote:
Brass-balled, Bronx-born auteur Abel Ferrara is one of those two-fisted screen bards that always follows through on each sucker punch, his heart beating with Sam Fuller’s blood. His scorching morality plays and tainted-psyche humanizations are raw nerves exposed and chewed through, like a naked tornado called Hyde to Scorsese’s more calculated risk-taker Jekyll. However, what makes an Abel Ferrara film for me isn’t plot or casts of meaty, dilemma-torn characters. It’s in the gritty city itself, a filmmaking toybox for tones, textures, sounds, music and aesthetic. When Ferrara looks at New York City, he knows its tourist-trap beauty is bullshit and the lurid truth is in the blackened gum on the bottom of the postcard rack. He’s the director who would probably kick my pasty ass all the way to Chinatown if he heard this flowery praise.

Excluding his one-time-only skin flick, Fear City (1984) was Ferrara’s third feature, a gutter-noir thriller set in the armpit of pre-gentrified Times Square and seen almost exclusively at night. Ferrara didn’t perceive the skyscrapin’ billboards and excessive wattage as a sinfully exciting paradise like Las Vegas; rather, his menacing midtown purgatory is as literally dark as the after-hours sky. Shot so that buildings have no edge definition and color lies in the negative space of shadow, the ubiquitous neon of the ’80s is unusually used here as paint on a deep black canvas. (Check out the French DVD cover below for reference.)

As for its premise, Fear City would work on a double bill in one of the era’s 42nd Street grindhouse theaters. Said to be modeled after Ferrara and his long-time screenwriter Nicholas St. John, ex-boxer Matt “Matty” Rossi (Tom Berenger) and biz partner Nicky Parzeno (Jack Scalia) run the Starlite Talent Agency, basically a harem of on-call strippers. A bumpy credits-sequence ride through the streets postulates Times Square as nothing more than a one-stop peep show, in which we’re allowed our first glimpses (more like gawking glares) of a topless Loretta (Melanie Griffith) on the stage. Within the first ten minutes, you know of hell and decadence: gratuitious boobies, a stripper stabbed by a serial killer, a club-owner shakedown, and neck-licking lesbianism (the latter only appearing in the European cut, to be discussed later).

Tom Berenger stands in for Ferrara, Jack Scalia for Nicky St. John.

The narrative catalyst is indeed “The New York Knifer,” a nunchuck-wielding manifesto writer who may or may not be exclusively attacking Matty and Nicky’s girls. Could it be an operation staged by their competition, Goldstein? (Please tell me this guy’s a reference to Screw founder Al Goldstein.) Will Matty’s mob bosses in the downtown social clubs show any leniency as Starlite’s dry-erase board of scheduled working girls (not work safe) is gradually wiped cleaner? Can Matty conquer his sleepless agony over accidentally killing a guy in the ring and ruining his boxing career? Are he and Loretta meant to be together forever, or will they be undone by her smack-habit relapses at the first signs of duress? And brash homicide dick Al Wheeler (Billy Dee Williams, who may as well be brandishing a Colt 45 with Tarantino-giggly lines like “There’s nothing I hate more than guineas in Cadillacs”), will he ever stop busting Matty’s chops?

“Nobody’s clean,” says Billy Dee’s former vice cop, and he ain’t kidding in this setup. With the slasher at large, tensions and subplot boiling points run high and red, and Ferrara relishes this amped-up zone to muck with audience moralities. When the boys beat up an innocent architect at a strip joint because he’s spotted with an Xacto knife, the aftermath pays little penance: it was a mistake that could NOT be avoided. This and a shot of Matty tossing a gun into the East River (in view of the still-standing World Trade Center) reflect modern allusions after one wiseguy offers: “This bastard was meant to be caught, not prevented. You can never prevent terrorism.” Black-and-white readings be damned.

Even rooting for troubled Matty in his alleyway showdown with this karate killer, Ferrara’s Fear City refuses empowerment through the idea of an antihero. It loves, hates and understands its sleaze as a certainty that these characters may win minor victories, yet they’ll never escape the inevitable downward trajectory of their lives. It’s too schlocky with its physical training montages, redundant flashbacks and diseased entertainments to dare consider its depth, but it’s notably compassionate and naturalistic in its grim vivacity. Fear City is like a Cassavetes giallo set in 1984, not the year but an alternate universe of Orwellian terror. Except Big Brother was severely maimed in the first reel.

1.82GB | 1h 36m | 906×576 | mkv

https://nitro.download/view/F31F0CBB6BFD1DF/Abel_Ferrara_-_(1984)_Fear_City.mkv

Language(s):English
Subtitles:None

The post Abel Ferrara – Fear City (1984) first appeared on Cinema of the World.