“Adapted from his own superb, blackly comic novel of eastern seabord eccentrics, macho mythology and the ultimate Florida face-off, McGuane’s sole film as director is one of the most enjoyable messes ever to be suppressed as unsaleable. His literary talent lionised and his film reputation secure on scripts for Rancho Deluxe, Missouri Breaks and Tom Horn, McGuane here exhibits a totally appealing incompetence as director: the movie’s got all the coherence of an amiable narrative jam-session. Storywise, Fonda wants to set up as a Key West fishing guide; Oates claims a monopoly and threatens to kill him if he does. That’s it…except for the crazy-quilt interaction of cultishly-cast fringe characters, mouthing idiosyncratically lively dialogue and obviously having a ball. Jimmy Buffet’s songs might give you some hook for what’s going on, but the fun’s infectious anyway.” – TimeOut London

92.In.The.Shade.1975.DVDRip.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1h 30mn
Size: 	1.39 GiB
Video
Codec: 	x264
Resolution: 	720x480 ~> 853x480
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	1 999 Kbps
BPP: 	0.241
Audio
#1:  	2.0ch AC-3 @ 192 Kbps

https://nitro.download/view/C16B090BA5ECEFE/92.In.The.Shade.1975.DVDRip.x264-KG.mkv
https://nitro.download/view/047D5FDB7C8CEB8/(1975)_92_In_The_Shade.srt

Language(s):English
Subtitles:none

The post Thomas McGuane – 92 in the Shade (1975) first appeared on Cinema of the World.

China 9, Liberty 37 falls halfway between the Hollywood backlot-western school and the Italian “spaghetti” western genre, borrowing the best elements from both. Fabio Testi plays a gunfighter who is saved at the last moment from a hangman’s noose. His liberators are a cartel of railroad men who want Testi to kill farmer (and former hired gun) Warren Oates, who has refused all entreaties to sell his land. As part of the scheme, Testi befriends Oates; on his own volition, he sleeps with Oates’ wife Jenny Agutter. When the railroad barons insist that Testi go through with his mission, he refuses, and helps the farmer fight off the train moguls’ hired thugs. Also known as Gunfire, China 9 Liberty 37 features a cameo by director Monte Hellman’s role model, Sam Peckinpah, who plays a bombastic Ned Buntline-style novelist. And the significance of the title? It’s the location of Warren Oates’ spread: Nine miles from the town of China, 37 miles from the town of Liberty.

1.46GB | 1h 32m | 640×304 | mkv

https://nitro.download/view/3572DC07EB2F3D7/Amore,_piombo_e_furore_-_1978_-_92_min_-_AC3_Italian_-_DVDRip_CRUSADERS.avi
or
https://tezfiles.com/file/8d62a7705202f/Amore%2C_piombo_e_furore_-_1978_-_92_min_-_AC3_Italian_-_DVDRip_CRUSADERS.avi

Language:Italian
Subtitles:None

The post Monte Hellman – Amore, piombo e furore AKA China 9, Liberty 37 (1978) first appeared on Cinema of the World.

Quote:
While drag-racing through the American Southwest in a Chevvy 150, a driver and his mechanic cross paths with an alluring hitchhiker and the inexperienced, tall tale-spinning driver of a GTO.

+Audio commentary by Hellman and filmmaker Allison Anders
+Audio commentary by screenwriter Rudy Wurlitzer and author David N. Meyer

2.87GB | 1h 42m | 1024×434 | mkv

https://nitro.download/view/7BF77AAA7394138/Two-Lane.Blacktop.1971.576p.BluRay.x264-KG.mkv

Language(s):English
Subtitles:English

The post Monte Hellman – Two-Lane Blacktop (1971) first appeared on Cinema of the World.

Quote:
A family scandal causes a wealthy and powerful Mexican rancher to make the pronouncement–‘Bring me the head of Alfredo Garcia!’ Two of the bounty-hunters thus dispatched encounter a local piano-player in their hunt for information. The piano-player does a little investigating on his own and finds out that his girlfriend knows of Garcia’s death and last resting place. Thinking that he can make some easy money and gain financial security for he and his (now) fiancée, they set off on this goal. Of course, this quest only brings him untold misery, in the form of trademark Peckinpah violence.

3.26GB | 1h 52m | 1024×552 | mkv

https://nitroflare.com/view/9126823AEFEC038/Sam_Peckinpah_-_(1974)_Bring_Me_the_Head_of_Alfredo_Garcia.mkv

Language(s):English
Subtitles:English

The post Sam Peckinpah – Bring Me the Head of Alfredo Garcia (1974) first appeared on Cinema of the World.

Synopsis
After a shoot-out kills five FBI agents in Kansas City the Bureau target John Dillinger as one of the men to hunt down. Waiting for him to break Federal law they sort out several other mobsters, while Dillinger’s bank robbing exploits make him something of a folk hero. Escaping from jail he finds Pretty Boy Floyd and Baby Face Nelson have joined the gang and pretty soon he is Public Enemy Number One. Now the G-men really are after him.

Dillinger.1973.720p.BluRay.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 47 min
Size: 	3.93 GiB
Video
Codec: 	x264
Resolution: 	1280x688 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	5 112 kb/s
BPP: 	0.242
Audio
#1:  	English 1.0ch AAC @ 132 kb/s

https://nitro.download/view/707E8728AB81A0D/Dillinger.1973.720p.BluRay.x264-KG.mkv

Language(s):English
Subtitles:English (SRT, muxed)

The post John Milius – Dillinger (1973) first appeared on Cinema of the World.

An African-American police detective is asked to investigate a murder in a racially hostile southern town.

6.56GB | 1 h 50 min | 1280×688 | mkv

https://nitro.download/view/E658CC71D74C70C/In.the.Heat.of.the.Night.1967.REMASTERED.720p.BluRay.X264-AMIABLE.mkv

Language(s):English
Subtitles:English

The post Norman Jewison – In the Heat of the Night (1967) (HD) first appeared on Cinema of the World.

Quote:
An impressionable teenage girl from a dead-end town and her older greaser boyfriend embark on a killing spree in the South Dakota badlands.

Roger Ebert, in 1973, wrote:
They meet for the first time when she is in her front yard practicing baton-twirling. He has just walked off his job on a garbage truck. She thinks he is the handsomest man she’s ever seen — he looks just like James Dean. He likes her because he never knew a fifteen-year-old who knew so much: “She could talk like a grown-up woman, without a lot of giggles.” Within a few weeks, they will be the targets of a manhunt after he has shot down half a dozen victims.

Terrence Malick’s “Badlands” calls them Kit and Holly, but his characters are inspired, of course, by Charles Starkweather and Caril Ann Fugate. They went on a wild ride in 1958 that ended with eleven people shot dead. The press named him the Mad Dog Killer, and Sunday supplement psychoanalysts said he killed because the kids at school kidded him about his bowlegs. Starkweather got the electric chair on June 25, 1959. From time to time a story appears about Caril Fugate’s appeals to her parole board. She was sentenced to life.

She claimed she was kidnapped and forced to go along with Starkweather. When they first were captured, he asked the deputies to leave her alone: “She didn’t do nothing.” Later, at his trial, he claimed she was the most trigger-happy person he ever knew, and was responsible for some of the killings. It is a case that is still not closed, although “Badlands” sees her as a child of vast simplicity who went along at first because she was flattered that he liked her: “I wasn’t popular at school on account of having no personality and not being pretty.”

The film is tied together with her narration, written like an account of summer vacation crossed with the breathless prose style of a movie magazine. Some of the dialogue is loosely inspired by a book written by James Reinhardt, a criminologist who interviewed Starkweather on death row. Starkweather was offended by his death sentence. He viewed his crimes with total uninvolvement and asked how it was fair for him to die before he’d even been to a big city, or eaten in a fine restaurant, or seen a major-league game. That’s what the movie captures, too: The detachment with which Kit views his killings, as Holly eventually draws away from him. He gets no pleasure from killing. He sees it only as necessary. He offers explanations which satisfy her for a while: “I killed them because they was bounty hunters who wanted the reward money. If they was policemen, just being paid for doing their job, that would have been different.”

The movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart. He is ten years older than she is, but they’re both caught up in the same adolescent love fantasy at first, as if Nat King Cole would always be there to sing “A Blossom Fell” on the portable radio while they held their sweaty embrace. He would not. To discourage his daughter from seeing “the kind of a man who collects garbage,” her father punishes her by shooting her dog. She is “greatly distressed.”

Kit is played by Martin Sheen, in one of the great modern film performances. He looks like James Dean, does not have bowlegs, and plays the killer as a plain and simple soul who has somehow been terribly damaged by life (the real Starkweather, his father explained at the time, was never quite right after being hit between the eyes with a two-by-four).

Holly is played by the freckle-faced redhead Sissy Spacek. She takes her schoolbooks along on the murder spree so as not to get behind. She is in love with Kit at first, but there is a stubborn logic in her makeup and she eventually realizes that Kit means trouble. “I made a resolution never again to take up with any hell-bent types,” she confides.

After the first murder and their flight, they never have any extended conversations about anything, nor are they seen to make love, nor is their journey given any symbolic meaning. They hope to reach refuge in the “Far North,” where Kit might find employment as a mounted policeman. They follow their case in the newspapers, become aware of themselves as celebrities, and, in a brilliant scene at the end, the captured Kit hands out his comb, his lighter, and his ball-point pen as souvenirs to the National Guardsmen who had been chasing him.

The movie is very reserved in its attitude toward the characters. It observes them, most of the time, dispassionately. They are strange people, as were their real-life models; they had no rationalizations like Dillinger’s regard for the poor or Bonnie and Clyde’s ability to idealize themselves romantically. They were just two dumb kids who got into a thing and didn’t have the sense to stop. They’re something like the kids in Robert Altman’s “Thieves Like Us” and the married couple in “The Sugarland Express.” They are in over their heads, incapable of understanding murder as a crime rather than a convenience, inhabitants of lives so empty that even their sins cannot fill them.

2.34GB | 1 h 33 min | 1024×552 | mkv

https://nitroflare.com/view/469862DF47B2261/Badlands.1973.BluRay.576p.x264-HANDJOB.mkv

Language:English
Subtitles:English

The post Terrence Malick – Badlands (1973) first appeared on Cinema of the World.