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Firstly, a quick shout out for the new Garden Cinema in Holborn, London where I saw this recently. A small cinema, but it's great to see a new venue opening so give it a go if you are nearby. To the film, well that sees Jimmy Cliff as "Ivan" - a would-be reggae singer who manages to get himself a record deal with a fairly unscrupulous local producer. The song does OK, but he gets a pretty measly share. Frustrated - and broke - he takes to dealing dope and soon falls foul of the law. Pretty soon he is almost in the Robin Hood sphere of infamy. Despite the persistent efforts of the police - who, admittedly, couldn't hit a barn door with an howitzer - he manages to evade captivity and he quickly becomes Jamaica's most wanted. This has a great soundtrack - "You Can Get It if You Really Want It" features a little too repetitively, but "Many Rivers to Cross" and the eponymous title track along with an edgy and engaging characterisation from Cliff keep it entertaining enough. Technically, the film itself is pretty poorly hung together with some very basic production, editing and the dialogue - authentically using a patois that could maybe have been subtitled? - is pretty difficult to make out as the audio mix is not the best. It ends as history tells us it does, and though I didn't hate it - I think it is more remarkable for it's place in cinema history being the first feature made locally than it will ever be as a notable film.
The brief life of Jean Michel Basquiat, a world renowned New York street artist struggling with fame, drugs and his identity.
A ticking-time-bomb insomniac and a slippery soap salesman channel primal male aggression into a shocking new form of therapy. Their concept catches on, with underground "fight clubs" forming in every town, until an eccentric gets in the way and ignites an out-of-control spiral toward oblivion.
In the poverty-stricken favelas of Rio de Janeiro in the 1970s, two young men choose different paths. Rocket is a budding photographer who documents the increasing drug-related violence of his neighborhood, while José “Zé” Pequeno is an ambitious drug dealer diving into a dangerous life of crime.
While a diamond advocate attempts to steal a collection of diamonds, troubles arise when he realises he’s not the only one after the collection.
Wyatt and Billy, two Harley-riding hippies, complete a drug deal in Southern California and decide to travel cross-country in search of spiritual truth.
Heroin addict Mark Renton stumbles through bad ideas and sobriety attempts with his unreliable friends - Sick Boy, Begbie, Spud and Tommy. He also has an underage girlfriend, Diane, along for the ride. After cleaning up and moving from Edinburgh to London, Mark finds he can't escape the life he left behind when Begbie shows up at his front door on the lam, and a scheming Sick Boy follows.
A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgängers, and an impossible transformation inside a prison cell.
The drug-induced utopias of four Coney Island residents are shattered when their addictions run deep.
Live at Maracanã is the third live album by the Brazilian duo Sandy & Junior, released on December 20, 2002. It is also the first double album of the brothers: one of the versions was sold along with CD Internacional Extras. The show was directed by Paulo Silvestrini and featured twelve dancers, twelve musicians and two backing vocals. For the show that gave rise to the CD and DVD, the stage counts with 19m of mouth, 15m of depth and 11m of height. On the sides, were placed two screens of 6m x 5m.
In 1920s England, Harry Du Pont, heir to the Du Pont empire is murdered at his engagement party, it’s up to Inspector Wilbur Wright to unravel the mysteries of the Du Pont family.
Lukas, a young schizophrenic man, has to deal with a new town, a new relationship, and the paranoia in his head.
