After World War II, a small French village struggles to put the war behind as the controlling Communist Party tries to flush out Petain loyalists. The local bar owner, a simple man who ... See full summary »
The shepherd Gombo lives with his wife, three children and grandmother in a tent on the Mongolian steppe. They are pleased with their rustic conditions, until a Russian truck driver, ... See full summary »
This slow-paced gem is about the civilizing influence of Italy on beleaguered Londoners both male and female and has its own civilizing influence on the viewer. It's almost like taking a ... See full summary »
In Switzerland German singer 'Willie' falls in love with Jewish composer 'Robert' who offers resistance to the Nazis by helping refugees. But his family thinks that 'Willie' is also a Nazi ... See full summary »
Rainer Werner Fassbinder
Auntie Danielle, supposedly in ailing health but in reality just a nasty old bitch, lives with a paid housekeeper who she regularly abuses. When the housekeeper dies falling off a ladder, ... See full summary »
After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
Federal agent Elliot Ness assembles a personal team of mob fighters to bring Chicago crime boss Al Capone to justice using unconventional means during the mob wars of the 1920s. This fictionalized account of the arrest of Al Capone is heavy on style and gunfire. The end shootout combines a baby carriage and stairs with a nod to Eisenstein's _The Battleship Potemkin_. Written by
Keith Loh <firstname.lastname@example.org>
Paramount Pictures made this film because they still held the filming rights to Eliot Ness' autobiography which they used to produce the TV series The Untouchables (1959). Originally, Paramount intended to make this, like so many other films since, as a big screen adaptation of a TV series. However, director Brian De Palma, producer Art Linson, and writer David Mamet all felt that they didn't want to remake the series so they took their own dramatic license with the story, and the true events that inspired it, in order to make what they felt would be a good big screen epic. (This according to De Palma and Linson in the DVD "making of" documentary) See more »
When Capone's man Overcoat Hood makes his report that Ness got the shipment of booze, not only is he not disheveled in any way, but he apparently made a journey of several hundred miles out of the wilderness of the Montana/Canadian border all the way back to Capone headquarters in an inordinate amount of time. See more »
1930. Prohibition has transformed Chicago into a City at War. Rival gangs compete for control of the city's billion dollar empire of illegal alcohol, enforcing their will with the hand grenade and tommy gun. It is the time of the Ganglords. It is the time of Al Capone.
[to Al Capone]
An article, which I believe appeared in a newspaper, asked why, since you are, or it would seem that you are, in effect, the mayor of Chicago, you've not simply been appointed to that position.
[...] See more »
The title of the aria "Vesti la giubba" from Leoncavallo's opera "Pagliacci" is misspelled in the closing credits of the film: "Vesti la guibba". See more »
I don't understand how on earth this movie gets a 7.8 rating. It's terrible! I've always been interested in Capone and the gangsters of the 30's, but this movie has the worst direction I've ever seen. It's pretty... they did a good job with the cars, outfits, locations, etc., but the dialogue is laughable and the way the story was crafted left nothing to suspense. I understand that they had limits because it was an account of a true story, but they still could have told us certain things and saved some things for later. The way the little mousy guy kept referring to his tax problems... we all know that's how they brought him down, but they gave that away in the first 20 minutes! And the music... terrible! I actually perked up when I saw Ennio Morricone's name at the beginning because I loved his work in "The Good, The Bad and The Ugly". But the director never used it to build suspense. They didn't build any dramatic scenes with it, and when they did, he used all the wrong music.
I am terribly disappointed with this movie. I want my two hours of life back. I've seen better documentaries on the Discovery Channel, and if I really want to learn anything, I'll take one of the tours here in Chicago.
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