Sentences with phrase «film as gangsters»

The controversy he refers to is the portrayal of Italian - Americans in the film as gangsters.

Not exact matches

In entertainment, Texas Guinan, a former silent film star from Waco, Texas, partnered with a gangster and opened one of Manhattan's first nightclubs, starring as its raucous, wisecracking hostess.

In the film «The Godfather,» Vito Corleone explains to a fellow gangster that the politicians on his payroll would turn against him if he went into the narcotics business and got out of gambling, «which they regard as a harmless vice.»

There's a tonal dissonance here: The gangster - movie dialogue of these different groups, as well as a somewhat lame late movie shoot - out, feel far removed from the terse, beautifully choreographed pandemonium of the film's first act.

In films from 1936, he was usually typecast as an abrasive, cigar - chomping detective, gangster or machine politician.

In this capacity, Fausto Tozzi played supporting roles in such internationally distributed films as The Wonders of Aladdin (1960)(as the cowardly Grand Vizier), Constantine and the Cross (1961), The Agony and the Ecstacy (1965)(as one of the foremen overseeing the Vatican projects of Michelangelo), The Valachi Papers (1972)(as notorious gangster Albert Anastasia), Crazy Joe (1974) and March or Die (1977).

This is a sports film and a gangster flick in one, teased with the satire of a mockumentary but fueled by the frisson that this all happened pretty much as articulated.

Many handsome leading men lose their seductive confidence as they grow older, but Bachchan is such a industry - defining star that he can do (and often has done) whatever he wants, whether it's scowling pensively throughout a trilogy of «Godfather» - esque gangster films («Sarkar,» «Sarkar Raj» and «Sarkar 3») or playing a Cyrano de Bergerac - like bum who lends his commanding baritone voice to a struggling young movie star whose natural voice isn't sexy enough («Shamitabh»).

Widowed in 1934, she entered films in 1937, repeating her Broadway stage role as the gangster's mother in Dead End (1937).

not as engaging or profound as many of the early gangster films were, but cagney was great as always and the movie had its bright spot.

What a stellar cast we have in Lawless, (Gary Oldman) as the gangster, (Guy Pearce) as the violent deputy from Chicago, (Tom Hardy) as the oldest bondurent brother, (Jessica Chastain) as the head waitress at the Bondurants restaurant, then finally (Shia LeBeouf) as the lead actor and most developed character in the film.

Much as «Live by Night» did with a period gangster film, Red Sparrow takes its compelling potential and fails to deliver in almost every respect.

Set in the world of French gangsters, the film follows François (Karim Leklou) as he tries to make a deal in Spain to earn back all of his hard - earned money that his mother (Isabelle Adjani) has gambled away.

Nick DeMaio is an aspiring actor who is perpetually typecast as «Gangster Number 3» in films about the Mob.

Both films feature in the Best Picture lineup, as does «Public Enemy Number One,» a sprawling biopic of gangster Jacques Mesrine that has been a local box - office smash and leads all nominees with 10 bids.

I'd say the true star of the film is Josh Brolin, who has proved in the past few years that he can do many things, such as giving an Oscar - caliber performance in Milk (which also stars Gangster Squad's Sean Penn), do an uncanny Tommy Lee Jones impression in Men In Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroism.

She made her film debut in Brian DePalma's 1987 gangster flick The Untouchables and went on to become the darling of the indie film world with her stunning turn in 1998's High Art, followed by strong roles in such lauded films as Far from Heaven, The Station Agent, and Pieces of April.

Reduced by Refn almost to the point of abstraction — it could have been called Notes on a Rehearsal for an Action Movie — Drive may do little to win over multiplex crowds who prefer the fast and furious to the moody and languorous, but it reconfirms Refn as one of the most exciting young directors around, and Albert Brooks (stealing the film as a small - time Jewish gangster with an aversion to loose ends) as a national treasure.

As in Melville's brooding gangster classic, Mamet's film focuses on a lonely, figurative samurai devoted to a governing code, in this case a jiu - jitsu instructor named Mike Terry (Chiwetel Ejiofor) who runs a Los Angeles martial arts academy where he trains both lay people and cops.

We've seen the effects of digitial de-aging in recent films such as Star Wars: Rogue One, and now Martin Scorsese will implement similar technology in his upcoming gangster film.

The dominance of European cinema was in part moderated by Crime Scene, an especially creative and popular program, incorporating recent award - winners such as Polisse (Maïwenn, 2011) and Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011) with the Brazilian hit Elite Squad: The Enemy Within (José Padilha, 2010) and the Congolese gangster film Viva Riva!

The script reminds me of Tarantino's earlier films as a fairly simple, straightforward story of gangsters and hitmen, with a smattering of violence throughout and seedy locations (including an internet cafe).

In an interview Rudolph helpfully singled out an Altman film he worked on as assistant director, The Long Goodbye — a much better film, one that can accommodate in its gallery of gargoyles a tragic figure like Sterling Hayden's alcoholic novelist as well as a nightmarishly comic one like Mark Rydell's Jewish gangster.

Were it not for 1972's The Godfather, it seems likely that 1990's GoodFellas would now be viewed as the greatest gangster film of all - time.

Director, co-writer and co-producer Kim Jee - woon is one of the country's best filmmakers (of the gangster picture A Bittersweet Life and the outstanding horror film A Tale of Two Sisters, sloppily remade here as The Uninvited) and brings his double - barreled love of Italian - made spaghetti Westerns to the fray.

Although it's still a gangster film, as it gets going it relies more and more on the family drama and less and less on he actual ins and outs of the business.

In the film Boston is depicted as bleak and grey but populated with colourful characters — Irish gangsters, long - haired gun - runners, over-sexed Mafia henchmen and the like.

Granddad was hired as a supervising consultant on the film, but did not agree with Coppola's burning desire to turn it into his gangster film.

Zootopia unfolds as a mystery procedural, as Judy and Nick traverse the varied terrains of Zootopia to crash the place of a mouse gangster modeled after Don Corleone, drop in at a DMV hilariously run by sloths (whose slow speech and movements give the film by far its biggest laughs), and uncover corruption and conspiracy.

The Brazilian star who played a favela gangster on film and sang Bowie in Portuguese says he makes music to get people thinking as well as dancing

Mostly remembered for his intense, spare, 1960s gangster films, Jean - Pierre Melville had a startlingly varied career as a maverick of French independent cinema.

Great pal: The co-stars have worked together several times in the past on films such as Crazy, Stupid, Love and Gangster Squad

The film's opening hour is an evenly - paced gangster thriller that toys with the character as cultural export.

Known mostly for his role as the drug lord Russell «Stringer» Bell in HBO's The Wire, he has also appeared in films like American Gangster, Thor, and Prometheus over the last few years.

Other significant personal preems, in order of original release, included: Buster Keaton's Go West (1925) and College (directed by James V. Horne, 1927); Howard Hughes's and James Whale's Hell's Angels (1928 - 30), featuring (sorry, other Howard) the most awesome aerial scenes I've ever witnessed; John Ford's Up the River (1930) and Airmail (1932); Michael Curtiz's The Kennel Murder Case (1933), utterly silly but quite beguiling as an empty exercise in directorial pizzazz; Gordon Wiles's — and Daniel Fuchs's — The Gangster (1947), an archetypal arty film noir; Val Lewton's Apache Drums; (directed by Hugo Fregonese, 1951); Richard Fleischer's The Narrow Margin (1952); Robert Bresson's Quâtre Nuits d'un rêveur (1971); Tobe Hooper's The Texas Chainsaw Massacre (1974); Phil Karlson's Framed (1975); Clint Eastwood's The Gauntlet (1977); and Robert Mulligan's Bloodbrothers (1978), which returned to Seattle (after a five - day first run in» 78) only via Showtime.

The other key holdover from the first film, Chris D'Amico, aka Red Mist (Christopher Mintz - Plasse), nurses a grudge against Kick - Ass for killing his gangster father and plots revenge as he seeks to become a real - life super-villain.

Cooper's last film, «Black Mass» — starring Johnny Depp as Boston gangster Whitey Bulger — also played the Toronto film festival.

Public Enemies By 2009, Tatum was holding his own alongside such box - office heavyweights as Johnny Depp and Christian Bale, playing Pretty Boy Floyd in the biographical, Depression - era gangster film Public Enemies.

Oscar Micheaux offered audiences a black perspective on the Chicago gangster film genre (Little Caesar, Scarface) as emphasised in this poster.

Directed by Hou Hsiao - Hsien, the film follows a young woman and her brother as they traverse the outer edges of the Taipei underworld, blending a gangster tale with atmospheric, introspective drama.

It's directed by Robert Siodmak, who made more film noirs than any other director, and it is one of his darkest, a gangster drama seeped in shadows, corruption, and psychosis, with Victor Mature (in what I believe is his best noir role) a as Lt. Candella, an Italian - American police detective who takes the pursuit of small - time gangster Martin Rome (Richard Conte) personally.

Young auteurs took the western, the detective movie, the sci - fi flick, the gangster film, and even the «inspirational teacher» genre, and turned them into films as smart and subversive as those below.

The Climber (Arrow Video) is a gangster film in the tradition of such classics as The Public Enemy and Scarface that chronicles the rise and inevitable fall of small - time smuggler Aldo (Joe Dallesandro).

Its opening film is the British - produced mountaineering thriller Everest, featuring Anglo - American glamour in the shape of Jake Gyllenhaal, Keira Knightley and Josh Brolin; its competition strand has an impressive list of international auteurs, including Tom Hooper (The Danish Girl), Alexander Sokurov (Francofonia), Luca Guadagnino (A Bigger Splash) and Charlie Kaufman (Anomalisa); and a number of authentic coups, including the world premiere screening of Black Mass, the much - hyped gangster film featuring Johnny Depp as James «Whitey» Bulger, and a first look at Beasts of No Nation, the African - set war thriller that represents Netflix's most serious shot yet across Hollywood's bows.

But the film's real pleasure lies in McDonagh's verbal felicity — the naturalistic dialogue is a breath of fresh air — and while Farrell struggles to juggle his humorous «thick» persona with romantic pathos, Gleeson excels in his role as the weary gangster pondering the possibilities for his own shot at redemption.

But it is certain that the film is less tied to the conventions of some film genre, as, for example, Miller's Crossing is, belonging as it does completely to the tradition of the gangster film.

With Hou's gentle but keen observation, the film follows a young woman and her brother as they float along the periphery of the Taipei underworld, intriguingly blending gangster tale with mood - drenched introspective drama.

James «Whitey» Bulger terrorized Boston as the boss of the Winter Hill Gang from the 1970s until the 1990s, went into hiding in 1994, fell into FBI custody in 2011, and now, thanks to filmmaker Scott Cooper, he's stalking multiplexes in the gangster film Black Mass..

But maybe this is understandable, as that is a convention of gangster movies, and aside from that the film tackles racism and homophobia in a well - intentioned way.

Based on the Dennis Lehane novel of the same name, the film takes place during Prohibition and stars Affleck as Joe Coughlin, the prodigal son of a Boston police captain who works his way up from bootlegger to notorious Florida gangster.