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Mai und dez. It is action packed original full of lame wise cracks and glitzy stunts. The cast looked like they had a lot of fun too.

Lee Thompson's version of Cape Fear may not be a masterpiece, but in every way it's a superior thriller to Martin Scorsese's horribly misjudged remake.

More surprisingly, it's also much nastier even with the heavier censorship of the day - Robert Mitchum's treatment of Polly Bergen in the last reel is startlingly violent and disturbing even now and its still shocking to see an early 60s film that revolves around sex crimes.

There's no doubt exactly what's on Mitchum's mind, whether he's eyeing up a pickup in a bar or breaking an egg in his fist and smearing the yolk over the mother's shoulders and neck: like a lazy reptile waiting to casually catch a fly with his tongue, he merely has to look at Gregory Peck's underage daughter to exude menace.

Where the remake offered a dysfunctional family forced to come together, the original offers something much more anarchic, as Gregory Peck's Mr Civil Liberties gradually comes to realize that the only way to protect his All-American family from Mitchum's strutting lizard-like vengeful ex-con is play dirty himself and plan his murder using his own daughter as bait.

Zusammenfassung: The Coupling gang are back for another hilarious helping of sexual exploration and social humiliation.

Bernie Lotz William H. While Mitchum and Peck occupy centre-stage, James Webb's tight script ensures the supporting cast make a strong impression too as they usher Peck further down the path to murder: Martin Balsam's sympathetic police chief who'll bend the law a little to harass an ex-con for a solid citizen, Telly Savalas with hair as a pragmatic private eye who is not above calling in as little help from the wrong side of tracks and Jack Kruschen, not playing Jewish for a change, as Cady's mouthpiece who knows just how to use the law to protect the guilty.

Aided immensely by Samuel Leavitt's menacing black and white photography and Bernard Herrmann's dramatically sinister score, Thompson's direction is right on target throughout: he may not have been one of the great directors, but he knew how to tell a story without losing the characters along the way, and he's at the top of his game here.

It may not be quite a classic, but it is a strikingly effective thriller, albeit an undeniably nasty one. Unusually for a film of the period casino deutschland altersgrenze , this boasts a surprisingly excellent DVD, with a good widescreen black and white transfer and plenty of extras, from a half hour documentary though sadly only Thompson and Peck contribute, with Mitchum notably absent , production notes casino spiele kostenlos email , a well-designed stills montage and the original theatrical trailer.

Kommentare: When your life depends on losing. Was andernorts Bandenspiele sind, ist hier Bandenkrieg - mit echten Waffen. Wesley Strick's screenplay does a good job of updating the tale of Nick Nolte's lawyer and his dysfunctional family being stalked by the former client he did less than his best to keep out of jail for the Fatal Attraction era, and with another, more commercially savvy director this could have worked well as a genre film it was originally intended as a Spielberg picture but Scorsese has no idea how to build suspense or atmosphere as he crashes through the material like a bull elephant on speed in a china shop.

Yet even his misguided directorial flourishes pale into insignificance next to De Niro's horribly misjudged performance as the vengeful bogeyman, inspired more by Robert Mitchum's character in Night of the Hunter than the one he played in the original film.

Where Mitchum merely had to look at Gregory Peck's underage daughter to exude menace in the original, De Niro throws in an absurd Deep Frahyed Sowvan acsunt and a series of ridiculous mannerisms and outrageous facial gurning that even Robert Newton's Long John Silver at his most inebriated might have thought too much, turning his character into more of a cartoon clown than his Fearless Leader in Rocky and Bullwinkle.

While with his subsequent semi-comatose performances there's some novelty value in seeing him go all-out, there's no threat or tension from his indestructible killer, no matter how much the film amps up the violence from the original which had censorship problems of its own back in Zusammenfassung: Die zehn Jahre alte Chihiro ist gar nicht begeistert, mit ihren Eltern von Tokio in einen kleinen Vorort umzuziehen und dabei alle ihre Freunde hinter sich zu lassen.

Sie wissen nicht, dass sich auf der anderen Seite des Tunnels die Zauberwelt Aburaya befindet - eine Welt, die noch nie zuvor ein Mensch gesehen hat.

Chihiro stellt sich dieser Herausforderung und macht sich auf eine Reise, auf der sie ungeahnten Mut, eine bisher nicht gekannte Willenskraft und Ausdauer beweisen muss.

Freddie Heflin is the partially deaf and slow-witted sheriff who keeps the fly-tippers of Garrison in order whilst the 'real' cops are at work over the George Washington Bridge.

Yet when internal tensions amongst the community of Garrison bring violence to the town, the sheriff is drawn into an investigation which exposes high-level corruption amidst the police officers of Garrison and draws Heflin into a moral and physical danger with which he is ill-equipped to cope.

The reserved critical acclaim which 'Cop Land' received on its cinematic release was somewhat obligatory given that Robert DeNiro, Harvey Keitel and Ray Liotta were all sufficiently impressed with the film's script to take only nominal fees for their participation.

Yet one cannot help but feel that critics withheld the genuine accolades this movie deserves on the basis of a bias against one of the movie's principle stars- none other than Sylvester Stallone.

Such bias is critical snobbery of the worst order and entirely unjustified as Stallone's performance is first-rate; the best if not the only genuine acting he has undertaken since 'Rocky'.

A bloated Stallone -he put on 30 pounds for the part -takes the part of Sheriff Heflin and reminds the audience of the not inconsiderable talent he squandered on a decade and a half of acting out the mindless fantasies of America's right-wing.

Heflin has a penchant for Bruce Springsteen records and the affinity is well made. Sheriff Heflin epitomises the middle-aged-bad-luck-white-working-class-male-of-simple-integrity who populates Springsteen's laments to the American underclass.

The primitive pathos innate to Stallone's acting is ideally suited to such a role and provides tremendous dramatic contrast to the conniving menace of police Lieutenant 'Uncle Ray' Dolan Keitel , the sophisticated manipulations of Internal Affairs lieutenant Moe Tilden DeNiro and the cocaine induced neurosis of Officer Gary Figgis Liotta.

Writer and director James Mangold declared that his real ambition with the film was to create a modern-day Western, but by emphasising the contrast between Sheriff Heflin and the characters who vie for his spiritual allegience, Mangold executes his 'Western' by extending it into the conventions of another cinematic genre.

The handicapped, semi-alcoholic, beleaguered, besieged and morally simple sheriff is indeed an obvious allusion to the lawmen who populated the Westerns of Howard Hawks, yet the venal nature of the ancillary characters together with an abundance of nocturnal scenes entails that the Western element becomes enfolded witihn a terrain distinctly neo-noir.

Mangold sustains such original genre fusion even up to the inevitable climactic shootout where he uses Heflin's by now symbolic deafness to create a memorable gunfight sequence that is Peckinpahesque save its absolute silence.

The strength of Mangold's script and the innovation of his direction also create a destabilisation in the moral orientation of the film.

Quite the contrary, the film serves to interrogate such mythology. By simultaneously sustaining several complex central characters, 'Cop Land' manages to constantly disperse the empathy of the audience.

Are we to side with the gentle yet ineffectual naivete of Heflin, or with one of the several characters orbiting around him, all of whom offer eloquent and credible explanations as to how their Machiavellian actions are justified by way of being in service to the realisation of the American dream?

The question of whether justice has been done -or indeed can be done -is one left to the interpretation of the audience.

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