An all time classic 60s movie glamourising the real life story of the Barrow gang who terrorised the American South in the early 30s. 'Reclaiming the American gangster movie, after it had been stolen by the Nouvelle Vague, Penn's film was so successful (and so imitated) that it inevitably met with some grudging devaluation. But it's still great, half comic fairytale, half brutal fact, it reflects the essential ambiguity of its heroes by treading a no man's land suspended between reality and fant
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GOODFELLAS (1991)
Certification18 Our Rating
Irish Sicilian Henry Hill always wanted to be a gangster and from running errands as a small boy, he graduates to becoming a trusted member of the "family". A stunning, violent and essential portrait of the Mafia's intimate details. An award winning film, superbly crafted by Scorsese.
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L'ARMEE DES OMBRES (1969)
Certification12 Our Rating
We follow the everyday travails of a group of WW2 French resistance fighters in Marseille, including their engineer leader and a middle-aged woman who sets up anti-German attacks without telling her husband or daughter, as they do battle against the occupying Nazis, collaborators and traitors in their own camp. This tense and atmospheric classic, based partly on Joseph Kessel's novel and partly on Melville's own experiences as a resistance fighter who later escaped France to join the Free French
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THE KILLER (1989)
Certification18 Our Rating
John Woo's 1989 Hong Kong action classic, a stylish bullet-riddled elegy to friendship under fire, firmly established him as the maestro of mayhem and brought him wide-spread recognition in the West. Superstar Chow Yun-Fat, Asia's king of cool, plays the most charming hit man ever, but when one of his killings leaves an innocent nightclub singer blinded he dedicates his life to giving her back her sight. Danny Lee is the cop on his tail, but the two adversaries become unlikely comrades when the
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THE WILD BUNCH (1969)
Certification18 Our Rating
Peckinpah completely rewrites John Ford's Western mythology by looking at the passing of the Old West from the point of view of marginalised outlaws rather than law-abiding settlers. While never ignoring their brutality he contrasts their code of loyalty with that of the corrupt railroad magnates. In purely cinematic terms, the film is a savagely beautiful spectacle, Lucien Ballard's superb cinematography complementing Peckinpah's darkly elegiac vision.
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