Radio host Alan Bird witnesses how an ice cream van is attacked and destroyed by an angry competitor. This leads him into the struggle between two Italian families, the Bernardis and the ... See full summary »
Ronnie, Wal, Andy and Vic are four bored, unemployed teens in dreary, rainy Glasgow. Ronnie comes up with a great idea. He has noticed that stainless steel sinks are worth a lot of money ... See full summary »
Bart is a clerk for a publishing company. He has written a novel. His wife Peggy and he have five children. Bart's former girlfriend, Mildred, is manager of the company's Paris office. She ... See full summary »
After being thrown out of her house, Maria encounters a married woman who complains of not having children. Maria ends up in an abandoned house, where she meets Matthew. When a baby is kidnapped Maria sets out to find the woman.
Grocery clerk Eddie Quaid, in danger of losing his father to alcoholism and his girl Julie through lack of career prospects, goes into boxing. His cop friend McBride finances him; ex-con ... See full summary »
During the Rif War in Morocco, the French Foreign Legion's outpost of Tarfa is threatened by Khalif Hussein's tribes but Sergeant Mike Kincaid devises a plan of survival until the arrival of French reinforcements.
Two tapes, two Parisian mob killers, one corrupt policeman, an opera fan, a teenage thief, and the coolest philosopher ever filmed. All these characters twist their way through an intricate and stylish French language thriller.
Oil billionaire Happer sends Mac to a remote Scottish village to secure the property rights for an oil refinery they want to build. Mac teams up with Danny and starts the negotiations, the locals are keen to get their hands on the 'Silver Dollar' and can't believe their luck. However, a local hermit and beach scavenger, Ben Knox, lives in a shack on the crucial beach which he also owns. Happer is more interested in the Northern Lights and Danny in a surreal girl with webbed feet, Marina. Mac is used to a Houston office with fax machines but is forced to negotiate on Bens terms.Written by
Matthew Stanfield <firstname.lastname@example.org>
A beautiful coastline... A rich oil man wants to develop it. A poor beach bum wants to live on it. An entire town wants to profit by it. And a real-live mermaid wants to save it... Only one of them will get their way.
Writer-director Bill Forsyth said in "Local Hero: The Making of the Film" (1983) by Alan Hunter and Mark Astaire: "I saw it along the lines of a Scottish Beverly Hillbillies -- what would happen to a small community when it suddenly became immensely rich -- that was the germ of the idea and the story built itself from there. It seemed to contain a similar theme to Brigadoon (1954), which also involved some Americans coming over to Scotland, becoming part of a small community, being changed by the experience and affecting the place in their own way. I feel close in spirit to the Powell and Pressburger feeling, the idea of trying to present a cosmic viewpoint to people, but through the most ordinary things. And because both this film and I Know Where I'm Going! (1945) are set in Scotland, I've felt from the beginning that we're walking the same... treading the same water." See more »
When they hit the rabbit, Oldsen says "Why don't we kill it? Hit it with something hard", to which Mac replies "You've already done that with a 2 ton automobile!" They are in a Mark 5 Ford Cortina (and a lower spec model with a 1.6 litre engine) which only weighs a little over 1 ton. See more »
There's the great movies with a capital "M" (Casablanca, Strangelove, Kane) and then there's the great movies which feel like they've been made for the deepest, quietest, quirkiest parts of you and you alone - the small gems. And this one, in my view, is the sparkliest of these gems - a little masterpiece of a rumination on just how beautiful things can be when disparate paths in life intercept each other just the tiniest bit out of phase, never perfectly according to plan, and on how the deepest transformations seem to proceed from the smallest disjoints of orientation and expectation. It is a beautiful dollhouse of a film, whose success lies in its excruciating attention to and understatement of detail. Beautiful Mark Knopler strains suffuse the film's quieter moments, while subtle performances and simply lovely dialogue provide the backbone.
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