Ricardo Tubbs (Jamie Foxx) and Sonny Crockett (Colin Farrell) are both working undercover in the heat of Florida, penetrating the dark, dollar-fuelled abyss of the drugs world. But as the temperature soars in Miami, Sonny gets romantically involved with Isabella (Gong Li) the wife of an arms and guns trafficker. Crockett and Tubbs are gradually pushed to the edge, and suddenly, the distinction between cops and player becomes dangerously blurred.
Al Pacino heads the star cast as Michael Corleone, heir to the criminal empire established by his Mafioso father, the late Don Corleone. The time is mid-1940's: Michael is now in charge of all gambling activities in Nevada, making certain that any and all political or mob enemies are quickly bought off, compromised, or disposed of. Throughout the film, Michael's travels are paralleled with the early experiences of his father, played in flashbacks by Robert DeNiro.
Johnny Deep stars as charismatic and elusive bank robber marked by the FBI as America’s ‘Public Enemy Number One’. Marion Cotillard plays Billie Frechette, the only woman capable of capturing his hear. Hunted relentlessly by top FBI agent Melvin Purvis, Dillinger engages in an escalating game of the cat and mouse that culminates in an explosive legendary showdown.
On a wintry day, a young man collapses and dies while jogging in the park. At that same moment, a baby is born. Maverick filmmaker Jonathan Glazer affirms the promise of his brilliant debut, Sexy Beast, with his new film Birth, teaming with Academy Award winner Nicole Kidman for a metaphysical love story that explores the space between what we know and what we feel. Kidman stars as Anna, a delicate young widow who is on the verge of a new life when a solemn little boy appears, claiming to be the reincarnation of her dead husband.
A powerful film about a ruthless journalist and an unscrupulous press agent who'll do anything to achieve success, this fascinating, compelling story crackles with taut direction and whiplash dialogue. Bristling with vivid performances by Curtis and Lancaster, this gutsy expose of big-city corruption is a timeless classic that cuts deep and sends a chilling message. It's late at night in the steamy, neon-lit streets of New York's Times Square, and everything's buzzing with nervous energy. But press agent Sidney Falco (Tony Curtis) is oblivious to the whirlwind of street vendors, call girls and con men bustling around him as he nervously waits for the early edition of The Globe. Whose career did gossip columnist J.J. Hunsecker (Burt Lancaster) launch today… and whose did he destroy?
Based on the infamous Johnson County War of 1892, Michael Cimino's epic western is now hailed as a masterpiece of American cinema...Harvard graduate James Averill (Kris Kristofferson) has returned to Wyoming as a Marshall and is facing a county with growing divisions and escalating tensions. The powerful, government-backed cattle barons are waging war on the immigrant settlers they brand 'thieves and anarchists' and are drawing up a 'death list' for their hired mercenaries to act upon. As hostilities mount, the inevitability of a full-scale and bloody war edges ever closer.
After Wyatt Earp's (Henry Fonda) brother James is murdered by cattle rustlers, the frontier legend becomes Tombstone's marshal and sets out to avenge the younger man's death. Torn between his badge and his fury, Earp confronts the likely killers, the notoriously lawless family of Old Man Clanton (Walter Brennan), setting the stage for the famed shoot-out at the O.K. Corral. Along the way, Earp falls in love with a schoolteacher named Clementine (Cathy Downs), which pits him against the cantankerous Doc Holliday. While 'My Darling Clementine' never loses its dynamism as a hard-hitting western, it is also a tender love story.
Irene Jacob is utterly captivating in the twin roles of Veronique and Weronika, two young women leading totally separate lives in France and in Poland, yet each strangely aware of the other's presence. Despite their different backgrounds, the two share not only many of the same likes, foibles and prodigious musical talents, but also the same wisdom, inspiring one to unconsciously avoid making the same mistakes in life as the other.
Faust's tale is a classic one of a man who sells his soul to the devil. In an attempt to gain control of the Earth, Mephisto (Emil Jannings) wagers an angel (Werner Puetterer) that he can corrupt the soul of the elderly professor Faust (Gosta Ekman). Mephisto unleashes a plague that spreads amongst its inhabitants. Faust, unable to find a cure-renounces both God and science invoking the aid of Satan through a mysterious book.
In one of Agnes Varda's more provocative films she presents us with the dilemma faced by husband and father Francois (Jean-Claude Crouot) who finds himself falling in love with an attractive postal worker. What follows is a detailed study of adult fidelity and happiness, which will ultimately end with major repercussions for all parties involved.
Bergman's masterpiece of self-doubt, identity and eroticism is an audacious example of cinematic art. The notional story centres on newly mute actor Elisabet (Liv Ullmann) recuperating at her coastal holiday home in the care of a nurse, Alma (Bibi Andersson). As tensions between the pair grow, their very selves seem to blur, chronology becomes uncertain and what is real and unreal loses significance. Yet the true impact of Persona goes beyond mere storytelling, touching, as Bergman said, 'wordless secrets that only the cinema can discover'.
Like a brand, the letter M has made it's mark on film history; it's disturbing theme having lost none of its impact or relevance. Sinister, dark and foreboding, M tells the story of Hans Beckert (Peter Lorre) - child molester and murderer. Tension builds - a child late home - another child missing. Posters reveal the fate of earlier victims, and the Police seem to have few clues as to the perpetrator of the crimes. Gangsters, beggars and petty criminals, incensed by both the crimes and the Police crackdown, track the killer themselves. Cornered, caught and dragged off to face an equally barbaric form of justice, Beckert endures his own personal torment.
Deborah Kerr (in the performance of her career) plays the emotionally repressed vicar's daughter who takes up a job as a governess to two seemingly angelic orphans. Gradually coming to believe that the children are possessed by the perverse spirits of their former governess and her sadistic lover, she begins to see manifestations of the ghosts prowling the huge gothic mansion of Bly House. Director Jack Clayton sustains a superbly haunting atmosphere throughout the film, and like James' original work, cleverly retains the ambiguity of wether the ghosts are real or the products of the governess's fevered imagination. Aided by Freddie Francis's exquisitely inventive and atmospheric CinemaScope photography, we, like the governess, are never quite sure what unspoken horrors are lurking beyond the edge of the frame and are kept guessing until the film's tragic conclusion.
Cult director Wong Kar Wai's first film shot outside of Hong Kong is a spellbinding tribute to blind passion that features two of Asian cinema's biggest stars. Lai (Tony Leung) and Ho (Leslie Cheung) arrive in Argentina as lovers, but while driving south in search of adventures, something goes wrong and Ho leaves for Buenos Aries. Devastated, Lai finds work in a tango bar but is consumed by thoughts of being happy together once more with Ho. A heady cocktail of sound and vision, Wong and cinematographer Christopher Doyle marry the rythms of Buenos Aries and Frank Zappa's jazz to an astonishing array of images.
Blade Runner (1982)Blade Runner: The Final Cut / Dangerous Days / Bladerunner
Rick Deckard (Harrison Ford) prowls the steel-and-microchip jungle of 21st century Los Angeles. He's a "Blade Runner" stalking genetically made criminal replicants. His assignment: kill them. Their crime: wanting to be human. A visual stunner, remastered for improved home presentation, director Ridley Scott's vision of this sci-fi cinema classic intriguingly differs from what 1982 moviegoers saw. This version omits Deckard's voiceover narration, develops in greater detail the romance between Deckard and Rachael (Sean Young) and removes the "uplifting" finale. Most intriguing of all is a newly included unicorn vision that suggests Deckard may be a humanoid. The result is a heightened emotional impact a great film made greater.
We use cookies to help you navigate our website and to keep track of our promotional efforts. Some cookies are necessary for the site to operate normally while others are optional. To find out what cookies we are using please visit Cookies Policy.