#tomas milian edit

[male-beauty-sfw]

#male beauty #Tomas Milian #Se sei vivo spara #tomas milian edit #se sei vivo spara edit #actor #film #celebrity #european #retro #1960s #gif #classicfilmedit

[watching-pictures-move]

Movie Review | The Big Racket (Castellari, 1976)

I’m no expert on poliziotteschi, but from the handful I’ve seen, it strikes me that they have no shortage of queasy morality and gleeful cruelty. My favourites would be The Italian Connection, in which a sleazy, two-bit pimp played by Mario Adorf (doing his own stunts and looking like he might die of a heart attack in the process) ends up being our hero, and The Tough Ones AKA Rome, Armed to the Teeth, which plays as an almost free-associative series of cop vs crook violence, Maurizio Merli and Tomas Milian trying to outdo each other in sadism as the movie escalates. This one, the second in the genre directed by Enzo G. Castellari that I’ve seen (after The Heroin Busters, with which this shares some terrific action direction), has its share of cruelty as well, largely meted out by a group of truly loathsome villains. We first meet them during the opening sequence, where they’re geared up in fearsome helmets as they mete out some pretty excessive property damage. The aesthetic choices here, between their wardrobe, the eerie red and yellow lighting, the slow motion and the blaring prog rock freakout on the soundtrack courtesy of Guido and Maurizio De Angelis (whose work here sometimes resembles a wilder and woollier version of “In-A-Gadda-Da-Vida”), suggest that this a newer, more vicious breed of criminal, totally beyond the pale of ordinary criminality.

And certainly, they make good on that promise, graduating pretty quickly from property damage to actual violence, sexual assault, murder and the works. A lot of this is relished by Castellari, starting with a great shot where the hero is trapped in a car that’s rolled over by the villains, the camera’s view spinning along with the body of the car as the hero gets roughed up inside. One scene of sexual violence is particularly ugly, but another earlier in the movie is handled with a bit of tact, conveyed with a somewhat touching and elegant shot of the camera refocusing to suggest the span from the victim’s rape to the discovery of her corpse by her father.

Now, with criminals this vicious, you’re gonna need a hero willing to go the limit, and we get that with Fabio Testi, towering over many of the other cast members as if his height correlates to his moral certitude. You’re not gonna get a nuanced view of police accountability in this genre, but to the movie’s credit, Testi is shown to be compassionate towards the victims and even tries to work with a relatively harmless criminal played by Vincent Gardenia to bust the criminals through less forceful means. At one point the villains disguise themselves as Marxists to stir up trouble, which probably betrays the movie’s politics, but it does try to mitigate this, with Testi insisting that these criminals have nothing to do with real leftist politics. And another scene where they incite mob violence against Gardenia’s son arguably positions their criminality as a social problem. So I didn’t find this as noxious as it could have been.

But ultimately, Testi has to go beyond the law and recruit a team, most of whom have been impacted by the villains personally, to take them out once and for all. And the gunplay here, both in a vicious train station shootout and the shooting gallery warehouse climax, is thunderous in its impact. The echoing of the rifle shots, the sometimes bruising editing, the sheer loudness of the gunfire (the violence feels as much sonic as physical), the liberal use of squibs combine to give every shot fired an entire movie’s worth of rage.

#film #movie review #the big racket #enzo g. castellari

[byneddiedingo]

Benicio De Toro in Traffic (Steven Soderbergh, 2000)

Cast: Benicio Del Toro, Jacob Vargas, Tomas Milian, Michael Douglas, Luis Guzmán, Don Cheadle, Miguel Ferrer, Topher Grace, Erika Christensen, Catherine Zeta-Jones, Albert Finney, Dennis Quaid, Peter Riegert, Amy Irving, Benjamin Bratt, Viola Davis. Screenplay: Stephen Gaghan, based on a miniseries by Simon Moore. Cinematography: Steven Soderbergh. Production design: Philip Messina. Film editing: Stephen Mirrione. Music: Cliff Martinez.

Traffic hasn't held up as well as it might have over the past 23 years, and one reason for that is a bit ironic: The movie was based on a British miniseries, and since the film's debut its central theme, the paralysis of politicians and police in trying to stop the drug trade, and its multiple-track storytelling have been handled more brilliantly by an American miniseries, The Wire (2002-08). It's even possible that the film demonstrates the limits faced by movies as opposed to long-form television in handling stories of complexity and sweep. (Imagine, for example, Game of Thrones or Mad Men or Breaking Bad stuffed into the confines of a two-or-three-hour movie.) Traffic still holds your interest, of course, thanks to some brilliant performances, especially the Oscar-winning one by Benicio Del Toro, as well as the ones by Don Cheadle and Catherine Zeta-Jones. (It's also fun to spot Viola Davis making a solid impression in a tiny part as a social worker.) And Soderbergh's direction deservedly won the Oscar, along with Steven Gaghan's screenplay and Stephen Mirrione's film editing. I would, however, fault Gaghan for the sentimental and melodramatic resolution to the story centering on Michael Douglas as Robert Wakefield, the newly appointed czar of the War on Drugs: It stretches credulity to have Wakefield break down in the middle of his acceptance speech and abandon his post, and the scene in which Wakefield and his wife (Amy Irving) beamingly support their drug-addicted daughter (Erika Christensen) at a twelve-step-program meeting is pure schmaltz. The film also pulls its punches a bit where the wasteful War on Drugs crusade is concerned, even to the point of featuring cameos by real-life politicians William Weld (a Reagan-administration appointee who supervised the Drug Enforcement Administration) and Senators Barbara Boxer, Orrin Hatch, Chuck Grassley, and Harry Reid.

#Traffic #Steven Soderbergh #Benicio Del Toro

[cultfaction]

Preview- Run, Man, Run (Masters of Cinema Limited Edition 2-Disc Bluray)

Preview- Run, Man, Run (Masters of Cinema Limited Edition 2-Disc Bluray)

Sergio Sollima’s third (and final) western film; Run, Man Run stars Tomas Milian (The Big Gundown, Django Kill… If You Live, Shoot!) as Cuchillo, reprising his role as the crafty knife thrower from Sollima’s earlier film, The Big Gundown. After aiding in the escape of a fellow desperado, Cuchillo is given the location for a stash of hidden gold intended to fund the Mexican Revolution. Pursued by…

View On WordPress

#Corri uomo corri #Run Man Run #Sergio Sollima #The Big Gundown #Tomas Milian

[sigurism]

Gian Maria Volonté e Tomas Milian Faccia a faccia Dir: Sergio Sollima

#<3 #faccia a faccia #sergio sollima #gian maria volonté #gian maria volonte #tomas milian #my edit

[blankeaton]

I delfini (Francesco Maselli, 1960)

#i delfini #francesco maselli #italian cinem #claudia cardinale #gerard blain #betsy blair #tomas milian #1960 #silver spoon set #the dauphins #my gifs #film edit #movie edit

[josefksays]

RIP Tomas Milian (1933-2017) - Cuban American-Italian veteran actor known for many spaghetti westerns in the 1960′s and still a great presence as a character actor in American films, usually playing villains, died yesterday. Method actor from the Actors Studio, his career started in 1958 with appearances on TV series and then his movie debut with  La notte brava (1959), a film written by Pasolini. Then his career took off, appearing in more than 100 projects which include Boccaccio ‘70 (1962), Time of Indifference (1964), The Agony and the Ecstasy (1965), La resa dei conti (1966), Faccia a faccia (1967), Corri uomo corri (1968), Sentenza di Morte (1968), Life Is Tough, Eh Providence? (1972), Four of the Apocalypse (1975), Bertolucci’s controversial La Luna (1979), Antonioni’s Identification of a Woman (1981) Monsignor (1982), King David (1985), Tony Scott’s Revenge (1990), Havana (1990), Oliver Stone’s epic JFK (1991), The Cowboy Way (1994), as Darli Alves in HBO’s The Burning Season (1994), in Spielberg’s overlooked Amistad (1997), The Yards (2000), For Love or Country: The Arturo Sandoval Story (2000), La Fiesta del Chivo (2005), The Lost City (2005), and most recently Fugly! (2015). To current audiences, he’s best remembered as the mysterious General Arturo Salazar in Steven Soderbergh’s Traffic (2000),which earned Millian and his cast mates the SAG award for best ensemble performance. Truly one of the most special presences to ever grace to screen.

#Tomas Milian #In Memoriam #actors #tribute #Traffic #Amistad #JFK #The Burning Season #Corri uomo corri #Identification of a Woman #Faccia a faccia #my edits #my sets

[zombiesdontrundotnet]

Almost Human (1974) (Shameless Numbered Edition) (Blu-ray Review)

Almost Human (1974) (Shameless Numbered Edition) (Blu-ray Review)

Almost Human (1974) (Shameless Numbered Edition) (Blu-ray Review) Directed By: Umberto Lenzi Starring: Tomas Milian, Henry Silva, Laura Belli Rated: 18/Region B/Widescreen/1080p/Number of Discs 1 Available from Shameless Screen Entertainment

Guilio Sacchi (Tomas Milian) is a small-time hood disillusioned with the crime syndicate for which he works. Looking to make some big money fast, he and…

View On WordPress

#Almost Human

[byneddiedingo]

Tomas Milian and Christine Boisson in Identification of a Woman (Michelangelo Antonioni, 1982) Cast: Tomas Milian, Daniela Silverio, Christine Boisson, Lara Wendel, Veronica Lazar, Enrica Antonioni, Sandra Monteleoni, Marcel Bozzuffi. Screenplay: Michelangeo Antonioni, Gérard Brach, Tonino Guerra. Cinematography: Carlo Di Palma. Production design: Andrea Crisanti. Film editing: Michelangelo Antonioni. Music: John Foxx.  Identification of a Woman plays almost like a pastiche of the movies that Michelangelo Antonioni and other directors made 20 years earlier: There's a party filled with bored Eurotrash like the ones in his La Notte, Federico Fellini's La Dolce Vita (1961), and Alain Resnais's Last Year at Marienbad (1962); there's a film director trying to get over creative block like Guido in 8 1/2 (Fellini, 1963); there's a search for a missing woman, though not so fruitless as the one in Antonioni's L'Avventura (1960); there are some mutterings about imponderable philosophical questions, such as whether god would exist if human beings didn't; and there's a good deal of sex, still not enough to overcome the problems of the characters, though the nudity is more frontal and the copulation more explicit than it was two decades earlier. In short, we've been here before. Still, Identification of a Woman is not without its rewards, most of them provided by the wizardly color cinematography of Carlo Di Palma. His artistry and technique are on display in such scenes as the film's most memorable segment, the journey through the fog, as well as in the play with reflections (see the still above) in the Venetian hotel scene. They do more than the actors do to bring the film to what life it possesses. 

#Identification of a Woman #Michelangelo Antonioni #Tomas Milian #Christine Boisson

[byneddiedingo]

Mark Wahlberg and Joaquin Phoenix in The Yards (James Gray, 2000)

Cast: Mark Wahlberg, Joaquin Phoenix, Charlize Theron, James Caan, Ellen Burstyn, Faye Dunaway, Steve Lawrence, Andy Davoli, Tony Musante, Victor Argo, Tomas Milian, Robert Montano. Screenplay: James Gray, Matt Reeves. Cinematography: Harris Savides. Production design: Kevin Thompson. Film editing: Jeffrey Ford. Music: Howard Shore. 

With its powerhouse cast acting glum, The Yards is a slow downer of a movie. But it repays attention, immersing us in an almost too-familiar milieu, the Mean Streets of New York City. It's more elegiac than the visions of the milieu given us by Scorsese, Coppola, Lumet and many others, portraying a city almost beyond hope and reform, in which the well-meaning can be dragged down by circumstance. Leo Handler (Mark Wahlberg) is certainly well-meaning: Just out of prison for a crime for which he took the fall for his friends, he would like to stay straight if only to help his ailing mother (Ellen Burstyn), but the corruption that is eating his friends and family, particularly his friend Willie Gutierrez (Joaquin Phoenix) and his uncle Frank (James Caan), is bound to swallow him up, too. Eventually, meaning well is not enough, and Leo finds himself taking the fall again. In the end, it turns out that the only way to fight the kind of corruption that ensnares Leo is with corruption itself, a truly vicious cycle. James Gray's steady, slow direction probably tested audiences too much, for the film was a box office loser. But it boasts superb ensemble work, with standout performances from Phoenix and Caan and particularly from Charlize Theron as Erica, Leo's cousin and Willie's girfriend. Howard Shore's music underscores Gray's melancholy vision. 

#The Yards #James Gray #Mark Wahlberg #Joaquin Phoenix

[giallofever2]

New by Shameless Screen Entertainment ANNOUNCEMENT ... Milano odia: la polizia non può sparare aka ALMOST HUMAN "BLASTS ONTO BLU-RAY!" The official release date is the 24th April 2017 SPECS • Limited edition numbered collector’s edition • Italian and English Audio • Optional English subtitles • Restored, uncut and unhinged – 101 mins • Collector’s reversible sleeve – final artwork to revealed soon! EXTRAS • A brand new Shameless interview with director Umberto Lenzi • Tomas Milian Interview ‘Milian Unleashed’ • Period interview with Umberto Lenzi star Ray Lovelock and writer Ernesto Gastaldi Maestro of mayhem Umberto Lenzi (CANNIBAL FEROX, OASIS OF FEAR) takes you on a tour of Italy’s mean streets in this hyper-violent, white-knuckle 1970s crime classic. For the first time ever on Blu-ray, Shameless proudly presents Almost Human…restored, uncut and unhinged! Tomas Milian stars as Giulio Sacchi, a sadistic petty crook who aspires to criminal greatness. With his gang of impressionable weirdos in tow, Sacchi kidnaps the pretty young daughter of a wealthy businessman but hardboiled cop Grandi (the one-and-only Henry Silva - ESCAPE FROM THE BRONX) is in hot pursuit. The dogged detective is all that stands between Sacchi’s gang and the ransom money, and he’s the only hope their teenage hostage has got… Almost Human is a notoriously nasty crime thriller, a cult serving for cognoscenti, with a stand-out score from Ennio Morricone, presented for the first time ever in glorious HD and restored from original vault materials. If you like your cops proper badass, and your villains ever badder psychos, this is the one high-octane, edge-of-the-seat experience you cannot miss! #milanoodialapolizianonpuosparare #almosthuman #tomasmilian #raylovelock #shamelessscreenentertainment #shamelessuk #umbertolenzi #ernestogastaldi #poliziottesco #poliziotteschi #gialli #giallofilm #giallofever #gialloitaliano #italiancinema #italiangiallo #gialloallitaliana #italiancult #italianmovie #italianmovies #movieoftheday #enniomorricone #morricone #soundtrackoftheday #filmoftheday (presso Cinecittà, Lazio, Italy)

#movieoftheday #ernestogastaldi #italiancult #poliziotteschi #giallofilm #morricone #filmoftheday #italiangiallo #poliziottesco #giallofever #umbertolenzi #gialloallitaliana #enniomorricone #tomasmilian #italiancinema #shamelessuk #gialli #gialloitaliano #raylovelock #soundtrackoftheday #almosthuman #italianmovies #milanoodialapolizianonpuosparare #shamelessscreenentertainment #italianmovie

[cultfaction]

Preview- The Last Movie (Limited Edition Bluray)

Preview- The Last Movie (Limited Edition Bluray)

Dennis Hopper’s legendary, long-unavailable masterpiece is available for the first time ever in the UK.

Hopper followed the enormous international success of Easy Rider(1969) with this exuberant passion project – a delirious, free-wheeling epic production shot in Central America with an incredible cast (including Peter Fonda, Kris Kristofferson, Russ Tamblyn, Michelle Phillips, Tomas Milian and…

View On WordPress

#Dennis Hopper #Kris Kristofferson #Michelle Phillips #Peter Fonda #Russ Tamblyn #Sam Fuller #The Last Movie #Tomas Milian