Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
A young Jewish American man endeavors to find the woman who saved his grandfather during World War II in a Ukrainian village, that was ultimately razed by the Nazis, with the help of an eccentric local.
In Manhattan, the British limousine driver Alfie is surrounded by beautiful women, most of them clients, and he lives as a Don Juan, having one night stands with all of them and without any sort of commitment. His girl-friend and single-mother Julie is quite upset with the situation and his best friends are his colleague Marlon and his girl-friend Lonette. Alfie has a brief affair with Lonette, and the consequences of his act forces Alfie to reflect and wonder about his life style. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
When Nikki is painting Alfie's Apartment, she approaches Alfie holding a cigarette. When she's going to touch Alfie with her painted hands, she has the cigarette in her mouth. Then the angle changes and she has it again in her hands. See more »
You're lucky you know. I rarely allow anyone into my flat.
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The main credits at the end of the picture show the person's face alongside his or her name. Even Michael Caine is pictured, alongside Bill Naughton's credit. See more »
First of all, I would like to start by saying I HAVE NOT SEEN THE ORIGINAL. A lot of the reviews here of this movie are just snide derision based on a bias set in place by the original film. I will also admit to buying my ticket solely because I had had a bad day and just wanted to relax with a 30 foot tall Jude Law winking at me in the audience and taking his shirt off a lot. I'm not ashamed. But what I got was something far more substantial. And of course there was the pleasantness of a half naked Jude Law, but there was also depth. A glimpse into the nature of the human psyche. What we do and why we do it, and ultimately: what it gets us in the end. Or rather, how it gets us.
As I understand it, Caine as Alfie was a hell of a lot harder and brassier than this modern day version. To the extent at which his sexually-charged chauvinistic ideals would have put major rock stars to shame and surely cost the studio more than a little bank in complaints filed against it by today's slightly more feminist audiences. Some have said that by watering our hero's womanizing tendencies down a bit, the entire heart of the film is lost. I say this is not so. It makes you stop, makes you evaluate where you are in life and where you're going. And what the hell you're doing. Anybody can see a little Alfie in them, and trust me, it's scary as hell. But it's a wakeup call. A tool, if you will. You leave the theater feeling like you've learned something and you'll think about it all the way home. How often do you leave a movie and get that much out of it?
Don't judge it by the original. Trust me, he's still a very bad boy. But he's sympathetic and insightful enough to make you wonder. Let it stand on it's own merit, and not by the standard Caine put in place 40 years ago. They're two different movies. Give it a chance.
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