Hiller, a computer expert, was bribed by group of bank robbers to obtain details of the security system at a newly-built bank. Having obtained the information, he thought he'd seen the last... See full summary »
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A psychotic young man returns to his old neighborhood after release from prison. He seeks out the woman he previously tried to rape and the man who protected her, with twisted ideas of love for her and hate for him.
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Social realism regarding struggles of reservation-dwelling Native Americans in the North Central states of the US. Main character is an introspective and lovable person in a process of ... See full summary »
Joannelle Nadine Romero
After the death of her daughter, Julia Lofting, a wealthy housewife, moves to London to re-start her life. All seems well until she is haunted by the sadness of losing her own child and the ghosts of other children.
Hiller, a computer expert, was bribed by group of bank robbers to obtain details of the security system at a newly-built bank. Having obtained the information, he thought he'd seen the last of the robbers. But now they've traced him and his son to London. They hold the son hostage and force Hiller to decode the information about the alarm and then to take part in the robbery. Written by
The title is taken from the 18th century ballad "Do Ye Ken John Peel", a song about fox-hunting. It is presumably a rather obscure allusion to the way that the bank robbers have hunted down Hiller and won't let him go again. See more »
When the robbers' Daimler Sovereign getaway car is first seen after the robbery, its two inner headlights are smashed and are not lit. A few seconds later, when the car drives through the greenhouses, those lights are unbroken and are lit. See more »
[the security sergeant is giving instructions to the young security guard who is watching a bank of CCTV monitors]
That's down in the vaults that leads to the strongroom. Your job is to sit here and watch.
Young Security Guard:
There's nothing to watch.
That's exactly how it should be. So if you see anything out of the ordinary, like people moving about, you come and tell me. All right?
Young Security Guard:
All right, Sarge.
You should pay particular attention to anyone wearing little black masks over their eyes and with ...
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The end-credits are overlaid on a long drawing that scrolls sideways, depicting Hiller's and The Boy's plane as it leaves London, flies over the Atlantic and arrives at Rio. See more »
I'm a huge fan of "heist" movies, a sub-species of "caper" movies. And there's something especially delicious about the British argot that makes British heist movies especially great fun. ("Sexy Beast," "The Great Train Robbery," "The General" all add to this list)
But across all heist movies "Bellman and True" is my all-time favorite. Bernard Hill gives one of his most nuanced performances as an alcoholic computer programmer who is left with his girlfriend's son ("True") when she dumps both of them. To get out of debt he's sold some information to a gang about bank security, but now he and the boy are on the run because the gang wants more than information--they want him to help plan the heist.
I won't give away anything more, but the heist itself is a white knuckle masterpiece, directed by Richard Longcraine (Richard III, with Ian McKellen, and Smiley's People, with Alec Guiness).
Through it all Russell is surrounded by more than a dozen great performances by some of the UK's finest character actors. Richard Hope as "Salto," is especially strong, as the gang member assigned to be Russell and the boy's jailer.
Trust me---the caper, which makes up the second half of the film, is worth a viewing on its own, but the strong characters and acting make it a real hidden gem of 1980s British cinema. This film jump started Longcraine's career, which recently included "Wimbledon," "My House in Umbria," and the to be released Harrison Ford thriller "Firewall."
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