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This is a bad joke without a punch line. The Killing is directed by Stanley Kubrick who co-adapts to screenplay with Jim Thompson from the novel Clean Break written by Lionel White. It stars Sterling Hayden, Marie Windsor, Elisha Cook Jr, Vince Edwards, Jay C. Flippen and Coleen Gray. Music is by Gerald Fried and cinematography by Lucien Ballard. Ex-con Johnny Clay (Hayden) has a plan to make a killing at the racetrack, with some special inside help he plots to nab $2 million in an intricate robbery. It looks a good thing, the right people are in place, but there's a potential spanner in the works in the shapely form of Sherry Peatty (Windsor), the unfaithful and devious wife of one of the robbers. Cheaply made by Kubrick and his producer partner James B. Harris, The Killing is a lean and mean mid 50's film noir. Poorly received at the box office and met with indifference by critics upon release, it's a film that has come to be noted as hugely influential - more so as Kubrick's reputation has grown over the passing years. Clocking in at under 85 minutes, film is told in a fractured narrative structure that at the time was viewed as an oddity. Story is constructed around crosscut flashbacks as the robbery is planned and then executed, with Kubrick's direction as meticulous as the actual robbery itself. It's not hard to understand why confusion was an issue back upon its release, but this is something that now comes off as something of a masterstroke, and this even if Kubrick was forced to tinker with the final product where it was decided to add in a voice-over to aid those troubled by the nonlinear narrative (which the director despised). In spite of some problems, such as the cheapo sets and some stiff performances from secondary characters, The Killing is quintessential film noir. Kubrick thrives on filming his characters in cramped surroundings, the use of angles very effective, and Ballard photographs superbly for the low-key interiors, thus the mood is perfectly set. Story is filled out with hapless characters, where destinies are defined by greed, betrayal and the devils trump card - that of bad luck. As is normally the case with the best film noir, it's a dame who holds the key to the misery here. Sherry Peatty (Windsor excellent) is cold and utterly bitch like. She has a hold over her cuckolded husband George (Cook Junior never better) that would be easy to detest, that is were it not for the fact George is so pitifully weak! From that coupling bursts a doom and bleakness that underpins the story, rendering the film with a fatalistic sheen. The Killing does have a dated feel to it, but only slightly (and not remotely irritatingly) so. While there's no denying that the budgetary restrictions - the voice-over and some less than good performances - stop this being the masterpiece of the crime genre some of us want it to be. However, it's a damn fine film, that's tense, exciting and very compelling, and it does deserve to warrant a place on a favourite list of any self respecting film noir fan. 8/10
Though it's Sterling Hayden who takes top billing here, it's actually Marie Windsor who steals the show as "Sherry". She is the rather money-grabbing, bullying, wife of "George" (Elisha Cook Jr). Now he works in the cashier's office at the local racetrack where "Mike" (Joe Sawyer) works behind the bar. These two are to be lynch pins in a daring plan to rob the place of two million dollars as it's feature race brings in the punters. Ex-con "Johnny" (Hayden) is the brains behind the scheme that also includes a bent cop "Randy" (Ted de Corsia), marksman "Nikki" (Timothy Carey) and financier "Unger" (the familiar face of Jay C. Flippen). Meticulous planning is required, diversions are created and it all looks set fair. Except, that is, for the blabbermouth "George" who tells his wife - in a bid to retain her love for him (and money) - who proceeds to tell her lover "Val" (Vince Edwards) and so a bit of double-play is soon on the cards too. It's constructed almost like a jigsaw puzzle, this film. We do a little bit of work on one aspect of the story, then move timelines and/or locations to another, or to another character before it all gradually comes together delivering a really effective eighty minutes of crime drama. Although I thought the ending just a little bit of a let down, there are strong performances across this tautly directed and effectively scored story. There's quite a lively bit of action from strongman Kola Kwariani in here too that's quite entertaining. Well worth a watch.
F/X man Rollie Tyler is now a toymaker. Mike, the ex-husband of his girlfriend Kim, is a cop. He asks Rollie to help catch a killer. The operation goes well until some unknown man kills both the killer and Mike. Mike's boss, Silak says it was the killer who killed Mike but Rollie knows it wasn't. Obviously, Silak is involved with Mike's death, so he calls on Leo McCarthy, the cop from the last movie, who is now a P.I., for help and they discover it's not just Silak they have to worry about.
After her husband dies in a freak plane accident, a woman leaves London for Athens to collect his generous life insurance policy. She soon discovers that others besides herself are keen to get their hands on the money - and are willing to kill for it. Meanwhile, a private investigator arrives to investigate irregularities in the claim, teaming up with a beautiful reporter.
The real-life story of Dublin folk hero and criminal Martin Cahill, who pulled off two daring robberies in Ireland with his team, but attracted unwanted attention from the police, the I.R.A., the U.V.F., and members of his own team.
Tensions rise when a U.S. military base is built in a small village in post-war Germany.
An aging ex-boxer gangster working as muscle for a Boston crime boss receives an upsetting diagnosis. Despite a faltering memory, he attempts to rectify the sins of his past and reconnect with his estranged children. He is determined to leave a positive legacy for his grandson, but the criminal underworld isn’t done with him and won’t loosen their grip willingly.
Liam Case is a garbage man whose life hasn't quite turned out the way he expected it would. In order to impress the girl of his dreams, Liam plans an elaborate heist that will culminate with him jumping in to save the day at the last minute. When the day of the heist arrives, however, the plan takes an unexpected turn and Liam winds up in the hospital.
Residents of an enclosed neighborhood in the middle of Mexico DF are shocked by a violent crime, and for one resident in particular, young Alejandro, the drama is ratcheted up when he encounters the lone kid who escaped the event and is hiding out within the neighborhood's borders.
Ben Kinnear and Mike Paddock are two undercover detectives with way too much publicity, who find they can no longer turn a blind eye to the corruption in the police force.
Joe and Paul Fabrini are Wildcat, or independent, truck drivers who have their own small one-truck business. The Fabrini boys constantly battle distributors, rivals and loan collectors, while trying to make a success of their transport company.
Recently paroled from prison, legendary burglar "Doc" Riedenschneider, with funding from Alonzo Emmerich, a crooked lawyer, gathers a small group of veteran criminals together in the Midwest for a big jewel heist.
Mall security guard Ronnie Barnhardt is called into action to stop a flasher from turning shopper's paradise into his personal peep show. But when Barnhardt can't bring the culprit to justice, a surly police detective is recruited to close the case.