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After training with his mentor, Batman begins his war on crime to free the crime-ridden Gotham City from corruption that the Scarecrow and the League of Shadows have cast upon it.
Luke McNamara, a college senior from a working class background joins a secret elitist college fraternity organization called "The Skulls", in hope of gaining acceptance into Harvard Law ... See full summary »
When a Las Vegas performer-turned-snitch named Buddy Israel decides to turn state's evidence and testify against the mob, it seems that a whole lot of people would like to make sure he's no longer breathing.
An aging cop is assigned the ordinary task of escorting a fast-talking witness from police custody to a courthouse. There are however forces at work trying to stop prevent them from making it.
In 2001, Jeremy Davies was in preparations for a different independent film about Charles Manson. He made a tape for the filmmakers of himself playing Manson and the tape became a popular bootleg in the industry. CBS cast Davies and allowed him to rewrite his lines due to his performance in the tape. See more »
Goofs
The opening credits montage of iconic '60s imagery includes an adult cinema marquee showing the film Cry for Cindy which wasn't released until 1976. See more »
If you are really interested enough in the whole Manson affair to
devote 7 hours to it, it would probably be best to see this together
with the 1976 original, because the two fascinatingly complement
each other like yin and yang, or two pieces of a jigsaw puzzle.
Moreover, in spite of the chronology of their release, it would
probably be better to see the 2004 version first, then the 1976
version. The 1976 version begins with the murders already having
occured, whereas the 2004 version focuses mainly on the events
leading up to the murders, and hardly at all on the legal aspects. It
could be summed up: 1976 version, mostly detective and legal
work, 2004 version, mostly a psychological study.
The 2004 version succeeds quite well in showing how Manson
had the power that he did. Nothing that Manson says makes
much sense; he exhibits what shrinks call tangentiality, i.e., the
inability to focus on a point. While this leads most people to avoid
Manson in the outside world, in the cloistered environment of
Manson's commune, it forces the listener to listen all the more
closely. In Jeremy Davies' riveting performance, Manson seems
almost oracular; the very obscurity of what he was saying can
make him seem, to the young naifs with whom he surrounded
himself, profound. It is easy to see how they found him hypnotic.
Davies makes Manson seem scarier than ever.