Three women plot to catch wealthy husbands by throwing a party at a mansion to which they have temporary access. Obvious love stories follow involving an ex-ballplayer, a secretly wealthy ... See full summary »
One of the most important images of the Czech New Wave 60s, which was ranked among the top ten domestic films of all time. Feature debut screenwriter and director Ivan Passer is currently ... See full summary »
In 1942, in an occupied Paris, the apolitical grocer Edmond Batignole lives with his wife and daughter in a small apartment in the building of his grocery. When his future son-in-law and ... See full summary »
Angela, the beautiful Mexican mistress of a NY mobster, asks virginal Father Michael for protection after Zena, the mobster's wife, kills her cheating husband. Michael becomes torn between his vows, Angela and his sister - Zena.
An autistic child growing up in the 1940's and 50's with a mother who is bitter because her fear of success has denied to herself a possible career in opera. This anger translates into an ... See full summary »
In Boston, when the mobster Bobby "Bats" Batton is attacked by a killer at home and escapes, he finds that he has fallen in disgrace with his boss since someone has falsely betrayed him ... See full summary »
Mary Elizabeth Mastrantonio,
When political thugs murder an opponent's volunteer and also kill a cop, chief inspector Verjeat believes the politician who hired them is as guilty as the murderous goon. Verjeat's pursuit... See full summary »
Primitivist Action Sequences Unduly Softened By Absurd Dialogue.
This South African produced movie includes plot patterns of a normally adequate type for inclusion in its action/adventure genre:small groups of battle hardened men stalking each other in a jungle setting that is quite forbidding upon its own terms, and here made more dire by the threatening presence of a tribe of cannibals to add a bit of grim terror into the mix. Jake Cody (James Ryan), an inactive mercenary, is cajoled into vocational reactivation by an escapade designed for him, intended for recovery of a large quantity of gold bullion stolen by another mercenary from the presidential palace of an underdeveloped imaginary African nation that intends to utilize the treasure as collateral for a loan anticipatingly channelled toward rebuilding the fledgling country's infrastructure. Cody persuades yet another mercenary, former comrade Bob Matthews (André Jacobs), to aid him in the affair, and this duo, with several other "soldiers of fortune" under their leadership, do achieve their goal of regaining the purloined bullion although, along with it, they also must assume, through plot exigency, responsibility for a female photojournalist, Samantha (Kate Normington) who has unaccountably preceded Cody, Matthews, et al, by sneaking unobserved into the encampment of the gold thieves, her presence there plainly central to having an obligatory female in the storyline. At this successful juncture, Matthews shows that he is really far more interested in keeping the loot for himself rather than sharing it with Cody or restoring it to its owners, and he shoots Jake, wounding him to prevent his partner from making a pursuit, but predictably to no avail as Cody manages to follow his erstwhile friend, accompanied only by a local native tracker. As mentioned early on, this jungly chase has elements oft found within standard action fare, but it will be difficult for a viewer to discover anything meritable about the narrative since the script is genuinely inane and efforts at humour merely serve to lessen one's potential interest in the characters, although it must be conceded that Samantha's skill in remaining neatly garbed is truly remarkable; in spite of being flattened with a right hand to the jaw, struggling against attempts at rape and other forms of physical assault, and slogging through thick vegetation and a muddy river, her clothing, even to white leggings, remains free from stain or disorder. There is little demand made upon the players from a shabbily written screenplay, while director/cameraman Parr brings little of more than passing interest to a viewer's attention, as he appears to be quaintly focused upon some type of significance from shooting extensively of the lower legs and feet of the various characters although, as it turns out, this has no more connotation for plot events than anything else in this forlorn film.
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