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I've got two lousy weeks left, and you're asking me to have faith? The Last Mile is directed by Howard W. Koch and adapted to screenplay by Milton Subotsky and Seton I. Miller from the play of the same name by John Wexley. It stars Mickey Rooney, Frank Overton, Michael Constantine and John Vari. Music is by Van Alexander and cinematography by Joseph Brun. The Death House is the cell block where nine inmates await their dates with the electric chair. Some of the guards delight in tormenting the condemned men, one of whom is Killer John Mears (Rooney), and he's had enough... Already made in 1932 with Preston Foster in the starring role, Howard Koch's 59 version of The Last Mile taps into the film noir zeitgeist of the time and unleashes a film of great power. Essentially played out on one set, there was a danger that this could have been too stage bound as a production, but not a bit of it, the tight confines of the shoot are just perfect for the thematics of the story. Pic begins with imposing title credits, an animated drawing of "Old Sparky" accompanied by shards of Van Alexander's Jazz "N" Blues musical score. We are then locked up with the convicts of "The Death House", sharing their fears, their anger and their regrets, the constant glances towards "The Door" at the end of the block akin to catching a glimpse of "The Grim Reaper" spying on you. For the first two thirds of the piece the makers ask for our patience as they build characters and atmosphere, gently ratcheting up the tension with every claustrophobic frame. Prison stories were ready made for film noir purveyors, offering great opportunities for the cinematographers to utilise the steel bars for psychologically shadowed impact, and Joseph Brun does that excellently here, even managing to extend the cell shadows over the smug guards, the inference is that they too are locked up in this place of abject misery. The air of fatalism mixes with the sweat of the men and drips down the cell walls, we are left in no doubt that this powder keg is about to be ignited, and when it comes it comes with the thunder, producing a last third of kinetic cinema of throat grabbing proportions. To which Koch and his team deliver a film noir coup de grace. Rooney leads the way with his performance of a seething John Mears, it's not over acting as some critics of the time suggested, it's a full on commitment to the portrayal of the incarcerated male who literally has nothing to lose and has had enough of being taunted. The other actors around him inevitably pale into his shadow, but they also put much emotion into their respective roles, very much so. An under seen and under valued prison noir, The Last Mile should be sought out by anyone with a bent for such films. 8.5/10
A rebellious youth, sentenced to a boy’s reformatory for robbing a bakery, rises through the ranks of the institution by impressing its Governor through his prowess as a long distance runner. He is encouraged to compete in an upcoming race, but faces ridicule from his peers.
Bootlegger Ed Carson is sent to prison. His old gang turns from liquor (now legal) to kidnapping. When they nab the son and daughter-in-law of the judge who sent Carson to prison, he is paroled to help in the capture.
Pandy and Retro awaken naked on Earth with no recollection of their past. They embark on a crime spree in search of food and clothing, but are captured by authorities and sent to the infamous lunar penitentiary named Dead Leaves.
Ervin, an ex con man, is released from prison to find his old pal Micky waiting for him. The 75 year olds seem to hit it off as they drive around town, with a few pit stops along the way, but the cracks in their friendship begin to show after 15 years of neglect.
After a defecting Russian general reveals a plot to assassinate foreign spies, James Bond is assigned a secret mission to dispatch the new head of the KGB to prevent an escalation of tensions between the Soviet Union and the West.
In order to foil a terrorist plot, an FBI agent undergoes facial transplant surgery and assumes the identity of a criminal mastermind. The plan turns sour when the criminal wakes up prematurely and seeks revenge.
The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age and climbs the ranks of a Mafia family under the guidance of Jimmy Conway.
By 2017, the global economy has collapsed and U.S. society has become a totalitarian police state, censoring all cultural activity. The government pacifies the populace by broadcasting a number of game shows in which convicted criminals fight for their lives, including the gladiator-style The Running Man, hosted by the ruthless Damon Killian, where “runners” attempt to evade “stalkers” and certain death for a chance to be pardoned and set free.
An epic tale spanning forty years in the life of Celie, an African-American woman living in the South who survives incredible abuse and bigotry. After Celie's abusive father marries her off to the equally debasing 'Mister' Albert Johnson, things go from bad to worse, leaving Celie to find companionship anywhere she can. She perseveres, holding on to her dream of one day being reunited with her sister in Africa.
After the events of Pitch Black, a contractor is hired to locate Riddick, dead or alive. He reviews available information on him and the events of Pitch Black. Terrified, he hires a female cyberpunk merc to do the job for him.
20 volunteers agree to take part in a seemingly well-paid experiment advertised by the university. It is supposed to be about aggressive behavior in an artificial prison situation. A journalist senses a story behind the ad and smuggles himself in among the test subjects. They are randomly divided into prisoners and guards. What seems like a game at the beginning soon turns into bloody seriousness.