A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Two days in the life of priest Father Fred Stadtmuller whose New Mexico parish is so large he can only spread goodness and light among his flock with the aid of a monoplane. The priestly ... See full summary »
After getting out of prison, Johnny Clay masterminds a complex race-track heist, but his scheme is complicated by the intervention of the wife of a teller (George Peatty) in on the scheme, the boyfriend of the wife, airport regulations, and a small dog. Written by
Andrew Hyatt <firstname.lastname@example.org>
Director Stanley Kubrick formed a production company with James B. Harris, Harris-Kubrick Pictures, before making this film. Kubrick and Harris bought the rights to the Lionel White pulp novel "The Snatch" for $10,000, but found out that the Motion Picture Producers and Distributors Association (MPPDA) Code would not allow movies to be made about the kidnapping of children, the premise of White's potboiler. White subsequently swapped the rights to his novel "Clean Break" for "The Snatch" to get them out of the predicament. United Artists had considered buying "Clean Break" as a vehicle for Frank Sinatra. "The Snatch" later was made into The Night of the Following Day (1968) in the more permissive 1960s, when the MPPDA Code had been superseded by the ratings system. See more »
The bird in the cage (after George has shot Shelley and is about to fall down) is obviously stuffed. In the next shot on the ground, it's a living bird. See more »
At exactly 3:45 on that Saturday afternoon in the last week of September, Marvin Unger was, perhaps, the only one among the hundred thousand people at the track who felt no thrill at the running of the fifth race. He was totally disinterested in horse racing and held a lifelong contempt for gambling. Nevertheless, he had a $5 win bet on every horse in the fifth race. He knew, of course, that this rather unique system of betting would more than likely result in a loss, but he didn't...
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A movie with average plot, fair acting, but superb direction
Stanley Kubrick is truly one of the most gifted directors of all time. He wasn't afraid to be boring(2001: a Space Odyssey) or critically bashed(The Shining) or risque and disturbing(A Clockwork Orange, Eyes Wide Shut). He simply did his job: to provide a well made film with strong theme and meaning. The Killing is definitely not Kubrick's best work. It seems to me that Stan wasn't famous enough and too little known to make The Killing the way that he wanted to. It was though, still pretty entertaining. It has one of my favorite attributes that most movies don't even steer close to: a non-linear plot. A non-linear plot is when scenes are put in non-chronilogical order, i.e. Pulp Fiction, Out of Sight, Fight Club, etc. It makes the audience pay more attention and makes the plot seem more interesting and intricate. In this movie, the plot wasn't way out of order, but it was enough to be conidered non-linear.
Another cool part of the movie was the heist itself. It was very well planned and executed and obviously took time to think up. The depressing climax and ending lean a lot towards the work of Hitchcock. In fact, if this film had been in some parts been by Hitchcock, it would not have been too much of a surprise.
If you're in to classic, black and white crime dramas, then this movie is for you.
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