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Benicio del Toro is a better Pablo Escobar than Javier Bardem, the same way Escobar: Paradise Lost is a better film about the drug lord than Loving Pablo – but the latter only marginally. Unlike Bardem, del Toro speaks Spanish throughout, except when addressing Nick Brady (Josh Hutcherson), which makes sense because Nick is Canadian. Moreover, most of the actors in Paradise Lost are Latino or Spanish, and their characters accordingly speak the language of Cervantes. The problem here is that the movie plays like a remake of the Last King of Scotland – and is just about as faithful to reality. Nick has gone surfing in Colombia, where he meets María (Claudia Traissac), and it's love at first sight. Little does Nick know that María is Escobar’s ‘almost-like-a-daughter-to-me’ niece. Yada yada yada the young, wide-eyed foreigner is seduced by the superficially affable and charismatic sociopath, only to discover sooner rather than later that there is no such thing as a free lunch. Now, del Toro can conjure affability, charisma, and sociopathy at the drop of hat, and he doesn't need to be in every scene to steal the movie; conversely, he couldn't save the film even if he did appear in every scene, because the story isn't about him, so Escobar doesn't so much inhabit the movie as he hovers over it, like a bird of prey. As for Nick and María, they are as make-believe as James McAvoy’s character in the Last King of Scotland. We don’t care what happens to them anymore than writer/director Andrea Di Stefano cares about what happens to Escobar, who literally and figuratively gets away with murder.
The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
A diplomatic couple adopts the son of the devil without knowing it. A remake of the classic horror film of the same name from 1976.
Two homicide detectives are on a desperate hunt for a serial killer whose crimes are based on the "seven deadly sins" in this dark and haunting film that takes viewers from the tortured remains of one victim to the next. The seasoned Det. Somerset researches each sin in an effort to get inside the killer's mind, while his novice partner, Mills, scoffs at his efforts to unravel the case.
He's looking for a way out of the city. But his only escape is through a woman looking for revenge.
Terry Malloy is a kindhearted dockworker, and former boxer, who is tricked by his corrupt bosses into leading his friend to death. After falling in love, he tries to leave the waterfront and expose his employers.
Diamonds are stolen only to be sold again in the international market. James Bond infiltrates a smuggling mission to find out who's guilty. The mission takes him to Las Vegas where Bond meets his archenemy Blofeld.
Russian and British submarines with nuclear missiles on board both vanish from sight without a trace. England and Russia both blame each other as James Bond tries to solve the riddle of the disappearing ships. But the KGB also has an agent on the case.
The search for a child murderer drags a once-respected detective into an all-consuming obsession.
A woman moves into an apartment in Manhattan and learns that the previous tenant's life ended mysteriously after they fell from the balcony.
Dolls takes puppeteering as its overriding motif, which relates thematically to the action provided by the live characters. Chief among those tales is the story of Matsumoto and Sawako, a young couple whose relationship is about to be broken apart by the former's parents, who have insisted their son take part in an arranged marriage to his boss' daughter.
Three stories adapted from the work of Edgar Allen Poe: 1) A man and his daughter are reunited, but the blame for the death of his wife hangs over them, unresolved. 2) A derelict challenges the local wine-tasting champion to a competition, but finds the man's attention to his wife worthy of more dramatic action. 3) A man dying and in great pain agrees to be hypnotized at the moment of death, with unexpected consequences.