Back in the mid 1900's Mexico was proud to have more world boxing champions in the small categories, than any other Country. Boxing was perhaps one of the few opportunities where a typical low income Mexican(75% of the population)could have success in life. Kids started boxing in their ghettos, a few of them made it to the Pro's and an even fewer amount got to be famous and earn good money from it. Those that got to the top soon found out that suddenly they had a great amount of people that surrounded them and helped them spend their money. But immersed in their new life styles they could never leave their origins and find a better future for them. This is what "Campeon sin Corona" tries to convey; a boxer that even when he has succeeded can not live up to his new status and prefers to be the same loser he was in his earlier years. There may not be in the Mexican Movies Industry a picture that better displays the way of thinking and acting of the vast majority of Mexicans of the 20th Century....
George Washington McLintock, "GW" to friends and foes alike, is a cattle baron and the richest man in the territory. He anxiously awaits the return of his daughter Becky who has been away at school for the last two years. He's also surprised to see that his wife Katherine has also returned. She had left him some years before without really explaining what he done but she does m......
Charles Dexter Ward's wife enlists the help of a private detective to find out what her husband is up to in a remote cabin owned by his family for centuries. The husband is a chemical engineer| and the smells from his experiments (and the delivery of what appear to be human remains at all hours) are beginning to arouse the attention of neighbors and local law enforcement officials. When the detective and wife find a diary of the husband's ancestor from 1771| and reports of gruesome murders in the area begin to surface| they begin to suspect that some very unnatural experiments are being conducted in the old house. Based on an H.P. Lovecraft</p>...
Traumatised by the death of an innocent. Killer for hire Bradley drops out of society, seeking meaning roaming the dangerous streets of a tough inner city ghetto. When he encounters a savage pimp and a desperate woman under his control Bradley finds the means to give battle to the inner demons that have eluded him. He embarks on a quest to save a young girl from the clutches of the brutal gangsters that trade human beings as currency. Drawn deeper into a sickening world in which age is no bar to exploitation and pursued by police, gangland villains and a mysterious agency known only as The Executive. Bradley discovers an ever deepening web of corruption and vice, and a dangerous game in which nothing is what it seems and no one can be trusted....
Nikita lives in the small town of Chegarinsk, which is right on the drug trafficking route from Central Asia to Siberia. Deciding to go to Moscow to build a musical career, Nikita wants to earn extra money. His childhood friend offers to transport a bag of drugs, and during a trip to Krasnoyarsk, Nikita miraculously does not fall into the hands of the police...
"Pawparazzi Snap!", a gossip show hosted by Sydney Flow and his dog sidekick Nancy O'Dogg, is the hottest celebrity gossip show on television. So what better place for London Bridges, a fast rising Hollywood starlet, to announce her next project "There Will Be Oil", an independent art film by acclaimed director Hugh Franklin and co-starring Dame Ruby Bench. With her pampered pomeranian Latte in tow, London arrives on location to see that she won't be receiving the star treatment she is used to. Not only will the film be shot on a farm in a secluded rural area, but London's acmodations will be on location as well. But when two thieves posing as Paparazzi show up to steal the prized "Academy Necklace" , a prized piece of Hollywood memorabilia that is bestowed about whomever is the current "it girl", London learns that her knight in shining armor is Tom, the simple farmer who is hosting her stay on the farm.</p>...
"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s....
At the beginning of the movie a pharmacist receives an anonymous letter that threatens him of death. And the murder actually happens. Seems very simple but nothing is what it seems and the journey to the truth will be long and difficult. The book is excellent and the movie is at par with it and very faithful to the romance. Great direction. Incredible cast with Gabriele Ferzetti in his best interpretation together with the one in "C'era una volta il West" and Gianmaria Volonté simply beyond reach as always. Many other great actors. Yes I am an enthusiast 'cause there's not a word or a shot out of place in this movie and the plot is ingenious. Who is going to see this film for the first time will be taken away by the developments (the pace seems to be calm but looking in between the kinks you may realize that many things are going rapidly on). Trying to figure out what is the kernel of the happenings and the "reasons" for the murder is a very interesting exercise but it's highly unlikely for the spectator not to experience a big surprise at the end. In my opinion Elio Petri at his best (I mean at the same level of his other masterwork: La classe operaia va in Paradiso).</p>...