A rebellious young man nicknamed Tano and a shy Mapuche boy named Cheo bond together by facing the violence and prejudice they carry during their complicated adolescence.
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Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.
The film focuses on the naval warfare around the Battle of Coronel and Battle of the Falkland Islands during the First World War. It was the last in a successful series of documentary reconstructions of First World War battles by British Instructional Films made between 1921 and 1927.
Doc Martin tells the tale of Martin Clunes’ character in the film, in the months leading up to the Saving Grace story. Martin Bamford is a heart-broken London obstetrician, in a jealous rage after he finds out that his wife has been sleeping with three of his buddies. He escapes to a small Cornish fishing village, which he grows surprisingly attached to, and is extremely reluctant to return with his cheating wife when she comes to pick him up. Although he has only been looking for a week’s R & R, Dr Bamford stumbles across a network of secrets in the village of Port Isaac, and finds himself embroiled in the most exciting scandal the village has seen for centuries.
Jay Austin wants to sell you a used car, but watch out! Many victims have fallen prey to his smiling face and hasty promises. Austin does everything his way until his dishonesty and manipulation are exposed. Like many men, he becomes disgusted by the masks he wears and the lies he tells. In every man’s life, there can be a turning point. When Jay makes his turn, he never looks back.
Bella sees her parents killed during a home invasion. Afterwards, she keeps waking up in a strange white room and the past keeps playing over and over. Bella must solve the mystery of the White Room and move on, but to where?
Set in the maligned western suburbs of Sydney, Lebanese-Australian John gets out of gaol to discover his younger brother Charlie is caught up with drugs, hookers and crime. Charlie oscillates between the streets and school. Daily clashes between Scott and Charlie’s gang escalate. This feud spills into the streets in a territory and identity battle that turns bloody.
In a world where women have become asexual and are no longer giving birth to males, a quiet, unassuming housekeeper named Andrew Myers finds himself at the center of a battle to keep men from going extinct.
A sailor prone to violent outbursts is sent to a naval psychiatrist for help. Refusing at first to open up, the young man eventually breaks down and reveals a horrific childhood. Through the guidance of his doctor, he confronts his painful past and begins a quest to find the family he never knew.
In 21st century Bucharest, to go out in the city on Saturday evening on the arm of a beautiful woman is a risky financial investment. Ovidiu, an unassuming high school teacher, never could afford it. Looking for a source of income more substantial than a teacher’s salary, Ovidiu plunges into a fabulous world – the beggar mob.
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang (as himself) to direct an adaptation of “The Odyssey,” but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
