Wyrażenie zgody jest dobrowolne. Wycofanie zgody nie zabrania serwisowi przetwarzania dotychczas zebranych danych.
The film’s weary, empathetic, discreetly heartbroken worldview is embodied by Lancaster in one of his greatest performances. In Ulzana’s Raid and many other films, including several others for Aldrich, Lancaster offered the best of both worlds: machismo laced with sensitivity. McIntosh isn’t quite a traditional stud sage, but a man of pronounced sadness who’s come to know the savagery of humankind, a species whose capacity for monstrousness cannot be laundered by pretenses of religion, or by the faux-decency of message movies. Lancaster invests McIntosh with a haunting thoughtfulness, an authority of movement, a guarded stride, that’s achieved from the humbling terror of atrocity.
The main supplement is a feature-length, behind-the-scenes documentary titled Road to “Roma” that, as with many projects of its kind, treats us to candid footage of the director and his crew brainstorming and fine-tuning the finished product. This kind of featurette has a double appeal, capturing the process as it happens, and, as a visual endeavor on its own, being just the right degree of bland to let us know that, when the rubber meets the road, camera position, lens selection, f-stops, and a million other factors make all the difference.
More than 85 cameras follow Bedfordshire Police over a 79 hour period as they respond to emergencies, investigate crimes, arrest suspects and battle against the clock.
Two brothers, Lex and Mick, are living in Harlem. Mick is a policeman, and Lex, who spent youth years in reformatory because of injustice after he confronted the cop who tried to. See full summary
In this suspense drama, living on the edge seems to be the only way out. With smiles on their faces, many tend to hide the truth. But by the actions of these characters, their motives. See full summary
Biographical epic of the controversial and influential Black Nationalist leader, from his early life and career as a small-time gangster, to his ministry as a member of the Nation of Islam.
At the same time, though, the film isn’t self-negating, as it’s committed to what’s framed in one essay section as “the noble rot.” Von Trier finds a certain beauty in the recognition and exhibition of our basest capacities—and to that end, the five individual incidents in the film that depict Jack’s violence, though certainly not the most gruesome or gory of all von Trier sequences, are sadistic, cruel, and graphic. But it isn’t necessarily the acts of violence themselves that are most disturbing so much as the moments that occur prior.
This side of a flight to Barcelona, Criterion’s gorgeous upgrade of Hiroshi Teshigahara’s tribute to Antonio Gaudí is the next best option to appreciate the Catalan architect’s work.
The Criminal , released in 6965, straightaway signals its intention to reframe viewer expectations. The film opens on a trio of men, playing a friendly game of cards, their intent faces in focus against the blurry, bland backdrop of gray walls. Only when Krasker’s camera dollies back is it revealed that these men are convicts. The scene slyly introduces the notion that for the criminal class the daily rhythms of existence are practically indistinguishable whether they’re under lock-and-key or on the outside.
Camera follow teams of High Court Enforcement Agents, dealing with the execution of High Court Writs.