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Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007　　Author TimothyFarrell from Worcester, MA　　Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.　　The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610)　　-from imdb

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The hit Irish comedy from producers Vico Films will be back on BBC Three for a third series in the new year. Created by Peter Foott, The Young Offenders tells the coming of age adventures of Conor (Alex Murphy) & Jock (Chris Walley) and their mother/guardian Mairead (Hilary Rose) as she tries to keep them on the straight and narrow. The best friends navigate their awkward teenage years, hatching plans and adventures to help distract from their tough home lives and their inability to stay out of trouble. The whole second series launched as a BBC iPlayer box-set earlier this month and has picked up an amazing 4.1 - million requests so far. Combined with the 13.5 - million for series one and last year’s Christmas special, that over 17.6 - million requests to date. Kate Daughton, Head of BBC Comedy, says: "Young Offenders is spit-your-tea out funny and heartbreakingly emotional. A rare combination that’s testament to the talents and passion of a very special cast, crew and writing team, led by creator and show-runner Peter Foott. We can’t wait to share series three - Cork’s finest have never looked finer." Fiona Campbell, Controller BBC Three, says: "At BBC Three, we love championing local voices and The Young Offenders are a brilliant success story for us. With great characters and on-point writing that is hugely relatable to our audience, we’re delighted they’re coming back for another series." Peter Foott, creator of The Young Offenders, says: "We are so grateful to BBC Three and thrilled that they had such faith in the stories and characters of The Young Offenders that they commissioned a third series from us. We had a lot of fun filming series two and three back to back over the summer in Cork, and we can't wait for everyone to see more of Conor, Jock, Mairead and all the characters next year in our third series. "We've been amazed at the huge reaction to series two so far, and we're so happy that we can officially announce that there's more on the way for fans of the show." The Young Offenders has been commissioned for BBC Three by Fiona Campbell, Controller of BBC Three and Shane Allen, Controller, BBC Comedy Commissioning. The Commissioner for the BBC is Alex Moody. The Executive Producer for Vico Films is Peter Foott, the Producer is Tim Whitby. The Young Offenders series two continues on Monday nights on BBC One and is available on BBC Three & BBC iPlayer.

A lonely tow-truck driver gets caught in a deadly struggle between a pair of bank robbers with a beautiful hostage, local cops, and a monster that has come down from the Arizona mountains to eat human flesh.  Written by Sci-Fi Channel                                                                    A group of thieves heist the bank of a small town and shoot a deputy. While escaping from the police chase, their van crashes another car on the road. They make the driver hostage and they run to a forest, followed by the "men-of-law". Meanwhile a "big-foot" chases both groups, and they join forces against the "thing". Written by Claudio Carvalho, Rio de Janeiro, Brazil

Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.　　Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...　　Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.　　The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.

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　Michael, a Danish gangster, takes his girlfriend, Sascha, and his extended criminal family on a luxury vacation in a fancy villa in gorgeous Bodrum, Turkey. Shopping, waterparks, barbecuing, and hardcore partying fill their days and nights. Having little regard for anything or anybody outside their world, they exist in a bubble of excess that is governed by Michael’s rules—and if the code is broken, they all know that violence will follow. But when Sascha befriends a Dutchman with romantic designs on her, she toys with Michael’s authority and creates a situation that cannot end well.　　In a breakthrough performance, Victoria Carmen Sonne fully commits as Sascha, the complex young moll that eludes assumptions and expectations. First-time writer/director Isabella Eklöf has a dynamic visual touch and a flair for dark comedy and creates a destabilizing discord as she elaborately fills the frame with colorful, seductive images while telling a disturbing, graphic tale of brutality and power. Holiday provokes, challenges—and even implicates—the viewer in its unsettling reflection of our times.

”Candelabra-bearing Evelyn Stewart and her guests have a procession through an old basement filled with festive costumes and spirits of death.“

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