Good German

Apache renegade Massai (Burt Lancaster) refuses to surrender with Geronimo and gets shipped to Florida with the rest of his tribe. Escaping en route, Massai journeys back to his home village and the girl he loves. Now a pacifist, all Massai wants to do is settle down and get in a good crop … but the U.S. cavalry has other plans.

Magnum Force is the 1973 American sequel to the 1971 film Dirty Harry, starring Clint Eastwood as maverick cop Harry Callahan. Ted Post directed the second film in the Dirty Harry series. The screenplay was written by John Milius (who provided an uncredited rewrite for the original film) and Michael Cimino.

Magnum Force is the 1973 American sequel to the 1971 film Dirty Harry, starring Clint Eastwood as maverick cop Harry Callahan. Ted Post directed the second film in the Dirty Harry series. The screenplay was written by John Milius (who provided an uncredited rewrite for the original film) and Michael Cimino.

The scars that have devolved on succeeding generations from the Japanese Imperial Army’s “Rape of Nanking” on the eve of World War II have gained prominence in the news of recent years. We recall how the Japanese government has only been able to go so far in recognizing a national culpability. A book of that title written by Iris Chang came into prominence three times at least – the first time upon publication in 1997, on the suicide of its author in 2004, and again at the release of an incendiary documentary inspired by her book in 2007, the year that it was at last published in a Japanese translation. Given raw feelings are on both sides 70 years after the destruction of the city, the prospect of a mainstream feature film dealing with that period is likely to be met with concern and trepidation. The wonder is that director Lu Chuan finds humanity in the suffering on both sides, and has made a film both impossible to watch and yet hypnotically seductive.

Fritz Lang was in peak form as a Hollywood studio director when he made Man Hunt (1941), a terrific thriller whose title, like so many things Langian, cuts two ways. First, Capt. Alan Thorndike (Walter Pidgeon), celebrated English big-game hunter, is caught near Berchtesgaden just as he's drawn a bead on Adolf Hitler. Thorndike claims he had no intention to shoot, it was just "a sporting stalk" - a notion mystifying to his Nazi captors, who aim to parade him before the world as a British government assassin. There follows a harrowing escape, in a forest primeval straight out of Die Nibelungen, and now it's Thorndike who's the quarry, pursued across Europe and home to foggy London - not that he finds much refuge there.

An old legend tells of a fortune in gold hidden in the "Canyon del Oro," guarded by the Apache spirits. Along with several others, a man named Adams found it when he was a young man, only to have the Indians capture and blind him and kill all his companions. Years later, Marshal MacKenna (Peck) wounds an old Indian…

Premutos is the first of the fallen Angels, even before Lucifer. His Goal is to rule the world, the living and the dead. His son should pave the way for him and appears arbitrary throughout human history and is then recognized as some kind of monster. In the present time, a young man living in Germany begins to suffer from visionary flashbacks - of the lives he lived in the past as Premutos' son! He remembers how he appeared in the middle age, when mankind suffered from pestilence and during WWII in Russia…..

Until now, Jacques Feyder has been unjustly reduced almost to a footnote in film history, but these beautifully-restored editions with stunning tints and new orchestral scores reveal him as one of the finest silent film directors in Europe. Following these accomplishments, Feyder was invited to Hollywood in 1929 to direct two outstanding films with Greta Garbo, The Kiss and the German version of Anna Christie, and to London for Marlene Dietrich in Knight without Armour; he is probably best remembered for Carnival in Flanders (La Kermesse heroique, 1935), which, unfortunately, was cut by about one-third for American release.

The burnt-out visions of the catastrophic Casanova behind him, Federico Fellini has returned to film making in a new guise. Orchestra Rehearsal, a 70-minute movie originally made for Italian television, marks Fellini's debut as a political artist. Perhaps the change was inevitable. This director's latent pessimism matches perfectly the gloomy social landscape of chaotic contemporary Italy. Or so one might hope. In Rehearsal, Fellini is so enthralled by his polemic that he forgets to let his imagination take flight. A film that should have been…