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You tell him the cops couldn't get me no other way, so they hired a couple of gunmen. Rico Bandello quickly rises through the gangster ranks, earning himself the nick-name of Little Caesar. As he sets his sights on the top boss job held by Pete Montana, Rico knows the heat is closing in - fast. Though not the first gangster picture to hit the big screen, Little Caesar is undeniably one of the genres landmark pictures. Adapted from W.R. Burnett's (High Sierra) Al Capone inspired novel, Little Caesar would go on to influence many of the genre highlights that followed, while in the process typecasting its star and icon, Edward G. Robinson. What is perhaps the first striking thing about viewing the film now is actually just how un-violent it is in context to what would follow it, and yet it never needs to be because this is not just about a violent uprising. With the advent of sound proving to be a winner with the fact that it's set outside of prison walls. The gangster genre by and large up to this point in 1931 consisted of mob characters behind bars, the sight of Rico about town amongst the noisy hustle and bustle surely would have depression jaded cinema goers, director Mervyn LeRoy exploits this by utilising opened the eyes and ears of the paying public. I wasn't around back then so have no on the spot frame of reference, but the professional critics point to many allegories that reside within Little Caesar's structure. Talk of paranoias and conformities during economic collapse, which are for sure points of reference for those so inclined to analyse and dissect Caesar as a whole. Yet to me it's a gangster picture first and foremost, outlaying the rise and fall of a very dubious man with big ideals above his relatively small social standing. Rico has ruthless violence constantly itching to burst out, add in definite hints of sexual ambiguity and this makes him a troubling yet most intriguing character. That it works so well obviously is down to Edward G. Robinson's portrayal, big bulging eyes and snappy slang phrases (this themselves must have really hit a chord with the viewersback in the day), Robinson gives the performance that so many have imitated over the years, where he probably defined the archetype in the process. It does look a little dated now, but of course that is only natural, but this is a powerful film that rises above merely being a hoodlum based piece. Producer Darryl Zanuck wanted something different for this burgeoning genre, and with the might of Warners revelling in the power of the talkie movie, they all crafted one hell of a picture that enthrals still today as much as it has influenced through the decades. Things most definitely changed with Little Caesar. 8/10
Edward G. Robinson is great in this early gangster talkie. He is "Rico", a clever and ambitious petty thief who decides it's time to move to the big city. Initially, he goes to work for "Sam Vettori" (Stanley Fields) but not long after, the local Crime Commissioner "McClure" is assassinated. Luckily, his buddy "Joe Massara" (Douglas Fairbanks Jr") is working at that self same club, and manages to warn "Rico" ahead of the subsequent police crackdown. It is now that he starts to smell an opportunity. First his boss, then the bigger boss "Pete Montana" (Ralph Ince) are toppled. Even his pal "Joe" and his gal "Olga" (Glenda Farrell) are not immune from his increasingly megalomanic tendencies. The thing I didn't especially like about this film is the ending - it is just a little too tame, but otherwise this is a solid effort from Mervyn LeRoy that really did bring out the best in Robinson with a quickly paced and enjoyable film.
From his childhood in Poland to his adolescence in Nice to his years as a student in Paris and his tough training as a pilot during World War II, this tragi-comedy tells the romantic story of Romain Gary, one of the most famous French novelists and sole writer to have won the Goncourt Prize for French literature two times.
Based on an AJ Cronin novel, a disgraced doctor exiled to the Canary Islands, meets and falls in love with a married woman.
An American gets a ticket for an audience participation game in London, then gets involved in a case of mistaken identity. As an international plot unravels around him, he thinks it's all part of the act.
Director Rufus Lindner is shooting his first film: " Die Vatikankiller". With audience favorite Kai Rabe in the leading role, success is guaranteed. But suddenly chaos descends on the film team: A starlet is murdered, the bitchy leading man goes increasingly crazy, a drunken policeman causes a lot of trouble, and the sex-obsessed producer Egon Lütter doesn't make things any easier.
Forensic psychologist and detective Alex Cross travels to North Carolina and teams with escaped kidnap victim Kate McTiernan to hunt down "Casanova," a serial killer who abducts strong-willed women and forces them to submit to his demands. The trail leads to Los Angeles, where the duo discovers that the psychopath may not be working alone.
The mutilated body of a six year old girl is found in a water hole. The girl is identified as the missing daughter of Claudia. However, only two peices of evidence could be used to identify her; a bracelet with her name on it near the crime scene, and the fact that her right leg was three inches longer than her left. All other methods of identification were removed from her body. Five years later Claudia, now addicted to tranquilizers, receives a phone call from someone claiming to be her daughter, asking for her mother to come find her before 'they' kill her. Other mysterious clues show up, further indicating that Claudia's daughter is indeed still alive, and very much in danger. Claudia, a run-down ex-cop, and a parapsychology reporter put together the clues to discover Angela's whereabouts
One day in 1984, Todd Bowden, a brilliant high school boy fascinated by the history of Nazism, stumbles across an old man whose appearance resembles that of Kurt Dussander, a wanted Nazi war criminal. A month later, Todd decides to knock on his door.
Tang Lung arrives in Rome to help his cousins in the restaurant business. They are being pressured to sell their property to the syndicate, who will stop at nothing to get what they want. When Tang arrives he poses a new threat to the syndicate, and they are unable to defeat him. The syndicate boss hires the best Japanese and European martial artists to fight Tang, but he easily finishes them off.
It's the 1940s, and the notorious Axe Gang terrorizes Shanghai. Small-time criminals Sing and Bone hope to join, but they only manage to make lots of very dangerous enemies. Fortunately for them, kung fu masters and hidden strength can be found in unlikely places. Now they just have to take on the entire Axe Gang.
Lincoln Rhyme was the department's top homicide detective and leading expert in criminal forensics until an injury left him paralyzed, depressed, and incapable of working. But when a gruesome murder in Manhattan leaves detectives baffled, they call on Rhyme to help solve the mystery. Amelia Donaghy, a rookie cop whose quick thinking preserved a gruesome murder scene, is enlisted by Rhyme to be his on-the-scene forensics expert. With Amelia reluctantly acting as Rhyme's able-bodied go-between, the pair piece together cryptic clues the killer leaves behind at the scene of the crime, hoping to catch the grisly serial killer.
When an office full of real estate salesmen is given the news that all but the top two will be fired at the end of the week, the atmosphere begins to heat up. Shelley Levene, who has a sick daughter, does everything in his power to get better leads from his boss, John Williamson, but to no avail. When his coworker Dave Moss comes up with a plan to steal the leads, things get complicated for the tough-talking salesmen.