As we prepare for the return of Prince Akeem in Coming 2 America, we present our guide to comic legend Eddie Murphy's essential films.
Take a look back at the talented actors and actresses who took home a Golden Globe for Best Actor/Actress in a Motion Picture – Drama since the category was created in 1951.
Related lists from IMDb users
Title: After Midnight (2004)
Want to share IMDb's rating on your own site? Use the HTML below.
| Cast overview, first billed only: | |||
| Giorgio Pasotti | ... | Martino | |
| Francesca Inaudi | ... | Amanda | |
| Fabio Troiano | ... | The Angel of Falchera | |
| Francesca Picozza | ... | Barbara | |
| Silvio Orlando | ... | Narrator | |
 |
Pietro Eandi | ... | Martino's Grandfather |
|
|
Andrea Romero | ... | Fast Food Owner |
|
|
Giampiero Perone | ... | Bruno the Night Watchman |
|
|
Francesco D'Alessio | ... | Member of the Falchera's Gang |
|
|
Gianni Talia | ... | Member of the Falchera's Gang |
|
|
Andrea Moretti | ... | Member of the Falchera's Gang |
|
|
Gianna Cavalla | ... | The Car Receiver |
|
|
Claudio Pagano | ... | The Car Receiver's Bodyguard |
|
|
Maurizio Vaiana | ... | Cousin Maurizio |
|
|
Ladis Zanini | ... | The Ballsqueezer |
The magical Mole Antonelliana (the cavernous Museum of Cinema in Turin, Italy) is the setting for a very unlikely love story. One fateful evening the museum's timid night watchman, comes to the aid of an enchanting young fast-food cook on the run from the police. The museum's dreamy kingdom of silent movie characters becomes a sanctuary for her as she awaits rescue by her devilish boyfriend. Written by Anonymous
After Midnight (9 out of 10)
Give me the Italian love of cinema and love of love over the French any day of the week, well, maybe 6 out of 7.
Here we have a movie about movies shot on digital video with a genre plot and some postmodern reflexivism thrown in. In the hands of a certain French New Wave director whose name I refuse to type, who in fact has used all of these devices himself, these tactics would be used at times to alienate, to smirk, to nudge-nudge-wink-wink, and to create narrative distance or irony. Ferrario uses them for all their worth, but with a consistently joyful embrace of both his characters and his audience. It's as if all 95 minutes of Band of Outsiders were running through the Louvre and dancing the Madison.
Any movie that keeps a smile fixed on my face from start to finish deserves a superior mark, even if it doesn't have the depth or reach of other movies I rank as highly.