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Description: Pat O'Brien makes the casual acquaintance of fellow American Ruth Warrick while on holiday in Mexico City. What Warrick doesn't know is that O'Brien is a treasury agent, out to receive expatriate counterfeiters Alan Hale and Edgar Buchanan. What O'Brien doesn't know is that Warrick is also out to receive Hale, whom she holds responsible for her father's death.
Description: Slowly, the steel jaws devour the old tower. An ancient owner rushes into the rubble, chasing kids unwary. Then began a strange adventure into the heart of this 'house' which shelters so many memories...
Description: It's six o'clock and Emma Sheffield has a lot to do before sunset. But a domestic dispute with her husband Reed threatens to throw a wrench in the gears. As disagreements turn into accusations, Emma has precious mins to lock her husband away before the monstrous thing they have kept secret starts to break free.
Description: Surya Teja, who was introduced to Telugu audience through Vinayakudu is finally debuting as a character with Appudala Ippudila. The rom-com entertainer has hit the screens today. Let’s see how the movie fares.
Description: Jaikishan and Reema are in love with every another but live a terrible lifestyle in India and are unable to marry. Jaikishan decides to seduce and marry a wealthy heiress, Monica, who he can subsequently divorce, take possession of her wealth, and then re-marry Reema.
Description: After an alien ship ruin lands in a Russian city, many who see the inside and the occupants begin to question their own existence while others demand the aliens leave Earth.
Description: Jill Trevor vows revenge on newspaper baron Sir Joshua Morple, who she holds responsible for crashing her father. Her very public antics to draw attention to Morple's despicable conduct come to the notice a rival newspaper, who send journalist Jim Brent to offer to write up Jill's story.....
Description: Two brothers and their wives meet up at a haute-cuisine restaurant to discuss what to do about a horrific crime that their sons committed together. As the quartet debate their options, the conversation reopens old wounds between the siblings.
Description: Set vs the backdrop of Trinidad and Tobago’s mystical Carnival, a gifted and struggling young boy becomes the object of intrigue for an older, well-meaning businessman until their worlds collide.
Description: Laura, a Spanish girl living in Buenos Aires, returns to her hometown outside Madrid with her Argentinian husband and children. However, the trip is upset by unexpected happenings that bring secrets into the open.
Description: Second Globe Fight . Field 119 in California (USA ) . Fight is long over , but the Italian Prisoners Still waiting to return home , preparing to celebrate , away from families , other sad Christmas. To dare a tiny rein to Their longing , they say Episodes of Their Life . A Roman says the USA hard married life . A Neapolitan soldier says of His lieutenant, a Neapolitan duke penniless . Meanwhile , the camp commander gave : Prisoners and a gramophone , So , Ai stories intertwine songs . Other soldier recalls the parties and the songs of the Sicilian spring , WHILE a Venetian gondolier evokes A HIS love affair . Sometimes , From Radio shabby listening news from abroad and Italy . Finally , one day , comes the ' pending release and All They return home .
Description: In a plan to trap potential opponent spies in Washington, an American secret agent sets up a gambling house. He later finds himself in a rivalry with his old mate the British ambassador over a pretty Hungarian woman, and it leads to espionage, blackmail and murder.
Description: This time the topics is twins. Doreen (the voluptuous Nina Hartley) has a sexual obsession for a fantasy lover. She lusts when he lusts and is consumed with desire for him. On the tip of her friend, Taffy (Gina Giannetti), Doreen visits a psychic, Natasha (the sensual Krista Lane) because her marriage to Roger (Scott Irish) is falling apart. During the reading, Natasha unlocks Doreen's secret, the lust she has for her twin brother, Dalton (Joey Silvera ). Doreen goes to her brother. Arriving at his mountain cabin Doreen schemes to break up the relationship between Dalton and his fiance. Natasha arranges a seance with Doreen, Dalton and Michelle. With her psychic powers at their peak, Natasha unleashes a vortex of sexuality that explodes on the screen in scorching intensity, in the classic Taboo tradition.
Description: Tina is sent to stay with her grandparents for the summer.Rekindling old friendships and a Love interest start almost instantly as well as old family skeletons and memories.
Description: After being found by extraterrestrial beings, a survivor of a mysterious incident that decimated part of the human race tries to create sense of the happenings that led World to its tragic fate. Composed entirely of public domain found footage material, the movie is an adaptation of the science fiction short storyline “The Carnivore”, by Katherine MacLean.
Description: Keith and Kim Russell have just tied the knot and have set out on an journey packed honeymoon in the wilderness. But much to their surprise, they search more action than they were looking for when they stumble upon a pair of cave dwelling savages.
Description: Marian Lorimer is a young affectionate girl whose husband Richard does not appreciate her. When his philandering causes her to fall in love with someone else, she leaves him a note saying him that she is running off with the man. At the last moment, thinking of her young daughter, she changes her mind, but Richard refuses to take her back and divorces her, gaining custody of their child. Marian goes West and changes her name to Mrs. Hatch, but years soon returns when she sees her daughter's picture in the paper in a marriage announcement. She poses as a dressmaker to see her daughter but when she is revealed as Marian by Richard and his fresh wife, she is forced to leave. In the end, however, Marian and her kid are reunited and Richard and his fresh wife finally are humbled. -From TCM.com Database, powered by the AFI.
Description: Bobby Burnit, a naïve young man, inherits $300,000 from his father, a hard-working entrepreneur. Because the will specifies that the cash gotta be invested, Agnes Elliston, Bobby's sweetheart, suggests that he take over his father's chain of stores. Later Bobby becomes the dupe of different swindlers and charlatans, among them Sam Stone and Bobby's shady lawyer. With the support of Bobby's mate Biff Bates and Daniel Johnson, a loyal employee of Bobby's father, the swindlers are exposed in the newspaper and Bobby's inheritance is saved. Finally, after rescuing Agnes from Stone's advances, Bobby proposes to her, thus complying with all of his late father's wishes. -From TCM.com Database, powered by the AFI.
Description: Elam Harnish, known as "Burning Daylight," is a leader among the boys of Circle City, Alaska in the days before the gold rush. Nell, a dance hall girl, loves Harnish, though he has never offered her anything but friendship. Harnish's hunch that the large strike is coming later proves true, and he throws himself into the frenzy of activity that follows, staking claims and eventually accumulating eleven million dollars. Harnish leaves Alaska for San Francisco without knowing that Nell has killed herself because of his departure. -From TCM.com Database, powered by the AFI.
Description: Gajendra Singh lives a wealthy lifestyle in a village in India. He has never attended school and as a effect does not know how to read or write in Hindi nor English. His marriage is arranged with equally wealthy Janki, the sister of Thakur Diwan and Ranjit Singh. On Hanuman Jayanti they receive married but Janki is not satisfied and decides to leave her husband. Gajendra searches for her but when he hears that she is dead, decides to seal the Hanuman Mandir doors and remain single.
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Anybody expecting to receive a nice acc of the Black Dahlia case, even fictional, will be disappointed going in to this movie. Of course, I knew that it was a fictionalization of the case, but I had no concept the film would show its own evidence and draw its own conclusions.But the main trouble here is not the lack of factual detail, so much as the confusion of plot that surrounds and overwhelms the Black Dahlia situation itself. So much plot and hero and sideplots and backstory are built around the central characters that the situation itself seems like a distraction. A key plot mission and hero motivator is the fascination of the two detectives with the murder, but this is never elaborated enough in the film, and we're left to half-heartedly guess at the hero motivations.The tone is never consistently campy, but when the camp arrives it overwhelms the story. A dinner stage between a suspect and her family had the crowd in stitches (the only stage during which the audience laughed). The trouble is that the stage is valuable to the plot and could never have been played for laughs. Hitchcock or even Lynch should have shot the same scene, with the same happenings and dialogue, and made it menacing and creepy, which it required to be to function in the mystery.Other problems: De Palma uses the lesbian angle of the film (never a part of the case) to full exploitative advantage, and the actresses seem unable to master to the expressive 1940s style acting that would have come naturally to even a marginal 40s star.Although the movie brings a clearcut finale rather than a vague puzzle, too many loose threads come together too neatly and rather than bringing the movie to a satisfactory conclusion, it leaves you scratching your head, is this what I spent the last 2 hours waiting to hear? Overall, there is too much plot, too tiny hero development and a wildly uneven tone. The film has its moments but it's a blinding mess all together.
"The Black Dahlia" is a long, bloated, confusing, self-important, self-consciously artsy film undermined by miscasting, absurd plot turns, naive symbolism, an utter disdain for history and laughable overacting that create Robert Towne's ponderous, plodding "Chinatown" sequel, "Two Jakes" (1990), look like a taut thriller.The most marked difference between "Dahlia" and another classics of the more newest category is that although "L.A. Confidential" is firmly planted in the 1950s and "Chinatown" takes zone in the 1930s, De Palma's movie has shallow roots "once upon a time in Los Angeles." Clearly, a film nominally set in 1943-47 in which the lead characters attend a silent film ("The Boy Who Laughs, " 1928--note that the characters are sitting in the balcony, which was reserved for blacks back in the ugly days of segregation. Oops!) has nothing but contempt for the past, which is reflected in a thousand ways, from male actors' scruffy haircuts and inability to wear hats properly to a laughable lesbian nightclub stage featuring K.D. Lang in top hat and tails singing "Love for Sale," which rather than depicting the classic movie noir era is most evocative of "Bugsy Malone," a far more accurate film.One can search fatal flaws in virtually each zone of this film with tiny effortin fact the most hard task in critiquing the movie is remembering everything that's wrong with it.First, there's Josh Friedman's dialog: "She looks like that dead girl! How sick are you?"not quite "She's my sister and my daughter," is it? Then there's miscasting (at 31, Kirshner is much too old to enjoy the 22-year-old Black Dahlia), opulent production design by Dante Ferretti (police officers lived like this on LAPD pay? Who knew?), melody (Mark Isham in the entirely predictable "cue mournful trumpet" genre), odd costumingFriday casual for the men, fall collection for the women(Jenny Beavan), down to the crowd scenes, which are busy to the mission of distraction. And I want I had the cigarette holder franchise on this film. I would be a rich man.Even unique results are misused, with an earthquake that serves no purpose except to underline an obvious plot turn. Granted, the overly complex storyline is almost impossible to follow, but in this instance, De Palma gotta assume the audience has an IQ of about 50. And unlike the shocking and painfully realistic nose-slitting stage in "Chinatown," the far worse violence inflicted on the Black Dahlia is amusingly fake. If De Palma was hoping to create a slasher flick, he failed badly.Nor does Vilmos Zsigmond's cinematography escape a rap on the knuckles for a ridiculous lesbian stag movie (presumably made at a cost surpassing the combined budgets of all blue films produced from the 1920s to the 1950s), and a self-conscious and overly elaborate shot in which partners Blanchard (Eckhart) and Bleichert (Josh Hartnett) engage in a shootout, followed by the camera slowly rising up floor by floor of an whole apartment building, proceeding to a befuddling shot of the building's roof before it at last discovers the Black Dahlia's body in a vacant lot in the adjoining block. As visual storytelling, this is a grandiose and miserable failure. And then there's Fiona Shaw, who chews so much scenery that she gotta have been rushed to an oral surgeon to have the splinters removed.For that matterand perhaps this is what makes the heart of the movie beat so faintlythere is very tiny of the Black Dahlia in "The Black Dahlia," who only surfaces far into the picture.In fact, the first 30 or 40 mins are devoted to boxing matches between the two detectives, nicknamed "Fire" and "Ice" from the Symbolism 101 school of writing. (I know it's in the book, but that's no excuse).So where is the Black Dahlia in this confusing mess? She exists entirely on film. Of course in true life, Elizabeth Short never got a screen use or even appeared in a school play, but De Palma gives her one and Kirshner, trying her greatest at the impossible task of acting 22, makes it as pitiful as possible with an intentionally miserable reading of Vivian Leigh's popular monologue from "Gone With the Wind." The handling of the crime scene? Ridiculous even by Hollywood's lax standards. Vintage black-and-white police vehicles swarming the roads and detectives bellowing instructions like some shark-jumping 1970s cop present that any nice investigator would already know. Ditto the morgue.Then there's the contrasting love/sex scenes, and it's obvious De Palma hasn't a clue how to scene either one. The sex scene, between Harnett and Johansson, occurs in the dining room, when, overcome with passion, Bleichert rips away the tablecloth, sending dishes everywhere, and has his method with Lake. Isham's score is lushly romantic, an oddly contrasting choice of music, and amour like this is sure tough on the Havilland china and the Baccarat crystal.The love scene, between Swank and Harnett, is just as amusing with Bleichert and Linscott having a tiny pillow talk while she's wearing nothing but large pearl earrings and a long matching necklace with pearls the size of tiny onions, ensuring, I would imagine, a rather bumpy ride.And about those crazy Linscotts. Bleichert knows exactly how to create rich folks confess to murder: Test their valuable antiques for goal practice. The last time I checked, police revolvers keep six rounds, so unless Bleichert was planning to war off one of them as he reloaded I can't imagine what he thought he would do after his sixth question. Then again, not everybody can send a crystal chandelier ruining to the floor with one shotsome of us need two.And while you're at it, Bucky, take out a couple of those clown paintings, please.
How many producers does it take to screw up a movie? In the situation of The Black Dahlia it takes 21 "producers". I counted the credits to be sure. I guess all 21 producers didn't notice how phony the flame bars were in the opening fire scene. The only producer with any true credits is Art Linson. Perhaps what this movie required was a single producer, director, writer squad that should focus on the story. And how about that acting? Johanson was miscast as was Swank (although Swank is generally a nice actress in another films). The plot is convoluted beyond anyones general idea of the Black Dahlia story. I was said that this movie was a true disappointment by my mates who saw it in a theatre, so I watched it on DVD and almost walked out of my own living room. On the positive side, the photography, production design and the melody were acceptable. But is it just me or does most of the dialog sound like clichés from another movie noir films? As others have pointed out this wanted to be L.A. Confidential or Chinatown, but came off as a terrible imitation. To terrible as I really wanted to love it...
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