Film Reviews

A one-time (and now one-handed) master film editor toiling in the cinematic sweatshops of 1970s Italy becomes the prime suspect in a series of brutal murders.

A Hollywood actress undergoes a psychic breakdown and recalls the traumatic events which led to her stay at a sanitarium.

The movie De Nieuwe Wildernis is set in the Oostvaardersplassen, a nature reserve of high standard in the Netherlands. The reserve has been developed in a location that 40 years ago was under sea level in one of the most densely populated countries in the world. Nowadays, its the stage for a unique nature show: the nature determines the rhythm. EMS Films was the first with exclusive rights to shoot footage during all four seasons in the Oostvaardersplassen. The team of "De Nieuwe Wildernis" filmed in the Oostvaardersplassen over a period of two years. The result is a nature film never seen in The Netherlands before. It is a nature spectacle! The film features Konik horses, Red Deer, Foxes and Heck cattle, just to name a few, battling for new territories and survival.

It is 1879 in the Dakota Territories, a band of men who set out to find and recover a family of settlers that has mysteriously vanished from their home. Expecting the offenders to be a band of fierce natives, but they soon discover that the real enemy stalks them from below.

A straight-laced pharmacist's uneventful life spirals out of control when he starts an affair with a trophy wife customer who takes him on a joyride involving sex, drugs and possibly murder.

The prequel, Komisario Palmun erehdys (1960), was a huge success, but its producer T.J. Särkkä forgot to reserve the filming rights of Mika Waltari's other Palmu-novel "Kuka murhasi rouva Skrofin". Mauno Mäkelä bought the rights and Kaasua, komisario Palmu (1961) was filmed under Fennada-Filmi.

The story of Venezuelan revolutionary, Ilich Ramirez Sanchez, who founded a worldwide terrorist organization and raided the OPEC headquarters in 1975 before being caught by the French police.

A history of Nazi television programming and technology, from 1935 to 1944.

No overview found.

No overview found.

In prohibition-era Chicago, the corrupt sheriff and Guy Gisborne, a south-side racketeer, knock off the boss Big Jim. Everyone falls in line behind Guy except Robbo, who controls the north side. Although he's out-gunned, Robbo wants to keep his own territory. A pool-playing dude from Indiana and the director of a boys' orphanage join forces with Robbo; and, when he gives some money to the orphanage, he becomes the toast of the town as a hood like Robin Hood. Meanwhile, Guy schemes to get rid of Robbo, and Big Jim's heretofore unknown daughter Marian appears and goes from man to man trying to find an ally in her quest to run the whole show. Can Robbo hold things together?

Medium Sylvia Pickel and psychometrist Nick Deezy meet at a psychic research facility in New York. Not long after, they're contacted by Harry Buscafusco, who offers them $50,000 to find his lost son in South America, in the heart of Incan territory where they discover an ancient mystical secret, and each other.

Buddy Young was the comic's comic, beloved by everyone. Now, playing to miniscule crowds in nursing homes, it seems like everybody but Buddy realizes that he should retire. As Buddy looks for work in show business, he realizes that the rest of the world has forgotten the golden days of Buddy Young, and that there just may not be room in the business for an old comic like himself.

Luciano works in birthday parties and writes his first feature when friend Manuel returns from Spain to repeat his TV show, "The Paranoids", together with his girl Sofia. Manuel is everything he is not and his trying to be helpful in his career and with women, only worsens the conflict. When Manuel leaves Sofia with Luciano for two days, she is seduced by the qualities Manuel rejects in his friend as weaknesses. Sofia changes. Luciano also, but only at the last moment he can overcome the fears he has been cultivating his whole life.

The director Lauri Nurkse tells that Veijarit is a film about "arjensietokyvyttömyys" (= inability to tolerate everyday life) and about the Peter Pan complex. The main actor Mikko Leppilampi says it's about "kolkyttoistavuotiaat" (= thirtyeenagers = people of thirty behaving like teenagers). An immediate reference point is the commedia all'italiana of the 1950s and the 1960s, the black comedy often exposing the infantile stage of development of the Italian male. Saku and Ässä are anti-heroes, but we never fail to sense the humanity behind their shallow and crazy ways. Veijarit is a satire and a parody of a superficial way of life, but there is a vitality in the protagonists that we feel can lead them to a more meaningful stage of existence after the prolonged youth full of sound and fury. There is a motif of transcendence in the imagery of flying: will the balloons carry me or will they burst.