Blue Collar

Based on an article by Sidney A. Glass, Blue Collar is the story of a three men who decide to rob a safe at a union headquarters building as a way to deal with the mistreatment they receive from their bosses as well as those working for the union. Directed by Paul Schrader and screenplay by Paul and Leonard Schrader, the film is a study of three men who deal with money issues as well as the fact that they’re not being treated fairly where they make a chilling discovery of what is going on at the union. Starring Richard Pryor, Harvey Keitel, and Yaphet Kotto. Blue Collar is a witty yet compelling film from Paul Schrader.

Set in Detroit, the film revolves around three men who work at an auto plant in the city as they struggle to get by as they feel mistreated by their foreman while their union representative doesn’t listen to their case prompting them to steal from the main office. It’s a film that play into the sense of indifference that blue collar workers are dealing with as they would struggle with finances as two of them have families to take care of. The film’s screenplay by Paul and Leonard Schrader follow the lives of two African-American workers in Zeke Brown (Richard Pryor) and Smokey James (Yaphet Kotto) and a Polish-American in Jerry Bartowski (Harvey Keitel) as they all work in the auto plant with many others in Detroit. Like everyone else, they work hard all day and go to the bar at night to relax and then return home.

Still, there are some problems at the plant as Zeke’s locker has been busted and has to open the locker through a hole which has damaged his pinky finger. Smokey owes money to a loan shark while Jerry has to get money for his daughter’s braces and Zeke finds himself in trouble with the IRS as they decide to rob a nearby union headquarters believing there is money. Yet, what they would find instead would impact so much more during the film’s second half as it play into what they found relating to criminal activities within the union. Notably in the third act as the three men find themselves to be big targets as it would involve blackmail and other dark ideas.

Paul Schrader’s direction is straightforward in terms of the compositions he creates as well as the fact that he shoots the film on location in Detroit where many cars are built. While there are some wide shots in Schrader’s direction, much of his approach to the compositions involve medium shots and close-ups while he play into the atmosphere of not just the auto plant but also the nearby bar and the homes of the three characters. Schrader’s direction also play into the atmosphere of the auto plant where it’s grimy and on-going as there’s a character in the film who is unable to get a cold drink from a vending machine which still hasn’t been fixed. Schrader also play into the struggles that these three men endure while they would have the time to relax and party but the idea of becoming rich starts to fade during the third act. 

Even as the Zeke, Jerry, and Smokey were approached by a federal agent in John Burrows (Cliff DeYoung) who believes something is up but they don’t want to become rats and get everyone else in trouble. Still, the dramatic stakes that occur in the third act in a couple of intense key sequences showcase a couple of the protagonists deal with something dangerous. Even as these events would force the protagonists to make uneasy decision that becomes more about themselves than everyone else. Overall, Schrader crafts a gripping yet engaging film about three auto plant workers trying to stick it to their bosses.

Cinematographer Bobby Byrne does excellent work with the film’s cinematography as it is straightforward for many of the exterior scenes while using some stylish and low-key lighting for some of the exteriors and interior scenes set at night. Editor Tom Rolf does terrific work with the editing as it is straightforward while featuring some rhythmic cuts for some of the film’s humor and suspense. Production designer Lawrence G. Paull and set decorator Peg Cummings do fantastic work with the look of the homes of the characters as well as the bar they go to after work.

The sound work of Willie D. Burton, Marvin Lewis, and Winfred Tennison is superb for the way the auto plant sounds with its machines and atmosphere as well as the scenes at the bar. The film’s music by Jack Nitzsche is brilliant as it’s a mainly a mixture of blues, rock, rhythm and blues, and country with additional contributions from Ry Cooder who provides a soundtrack of music including pieces from Lynyrd Skynyrd, Howlin’ Wolf, Ike & Tina Turner, David Willis, Byron Berline and Sundance, and Captain Beefheart.

The casting by Vic Ramos is wonderful as it feature some notable small roles and appearances from Jimmy Martinez as a friend of Smokey in Hernandez who tried to help Smokey with their issues, Leonard Gaines as an IRS official who meets with Zeke, Chip Fields as Zeke’s wife Caroline, Lucy Saroyan as Jerry’s wife Arlene, Boran Silver as the auto plant foreman that everyone calls Dogshit Miller, and Ed Begley Jr. as an auto plant worker in Bobby Joe who shares the frustrations of his fellow co-workers. Lane Smith is superb as Clarence Hill as a union representative who tries to help out the workers yet is really involved in other activities as he is someone that Zeke dislikes. Cliff DeYoung is terrific as John Burrows as a federal agent who is trying to get information from the workers with claims he wants to protect them when is really someone that wants them to snitch on their fellow workers.

Harry Bellaver is fantastic as union leader Eddie Johnson who listens to Zeke’s complaints while being aware that there is this air of corruption happening yet is also a man that is cynical about the ways of the world. Yaphet Kotto is incredible as Smokey James as a maintenance man at the auto shop who is suspicious of what is going on as he needs the money to pay off debts while trying to maintain the idea that everyone has to work together to make things happen. Harvey Keitel is marvelous as Jerry Bartowski as a Polish-American auto worker who is the last to join on the scheme due to his daughter’s need for braces on her teeth as he deals with the dangers of the aftermath of the scheme prompting him to make an uneasy decision. Finally, there’s Richard Pryor in a phenomenal performance as Zeke Brown as an auto worker who is frustrated with management’s indifference towards everyone as he would take charge of the scheme to rob from the local office only to discover something bigger as it would later cause all sorts of conflicts for himself as he would make an uneasy decision that would help his family.

Blue Collar is a sensational film from Paul Schrader that features great performances from Richard Pryor, Harvey Keitel, and Yaphet Kotto. Along with its study of working class environments and corruption within those trying to help the common man, it’s a film that play into three men wanting to stick it to their bosses only to get way over their head into a world that is far more complicated and troubling. In the end, Blue Collar is a phenomenal film from Paul Schrader.

Paul Schrader Films: Hardcore – American Gigolo - Cat People (1982 film) - (Mishima: A Life in Four Chapters) – (Light of Day) – (Patty Hearst) – (The Comfort of Strangers) – (Light Sleeper) – (Witch Hunt) – (Touch) – Affliction – (Forever Mine) – (Auto Focus) – (Dominion: Prequel to the Exorcist) – (The Walker) – (Adam Resurrected) – (The Canyons) – Dying of the Light – (Dog Eat Dog) – First Reformed - (The Card Counter)

© thevoid99 2018

Wild (2014 film)

Based on the memoir Wild: From Lost to Found on the Pacific Crest Trail by Cheryl Strayed, Wild is the story of a troubled woman who decides to hike the Pacific Crest Trail to cope with loss, her divorce, and other issues as a way to reflect on her life. Directed and co-edited by Jean-Marc Vallee and screenplay by Nick Hornby, the film is a look into a woman trying to find redemption as she takes on a major challenge as it’s a dramatic take on Strayed’s real-life story with Reese Witherspoon playing the role of Cheryl Strayed. Also starring Thomas Sadoski, Michael Huisman, Gaby Hoffman, and Laura Dern. Wild is an entrancing and riveting film from Jean-Marc Vallee.

The film revolves around Cheryl Strayed’s 94-day journey in hiking the Pacific Coast Trail as she deals with the death of her mother, a divorce, and her descent into drug addiction where she tries to find herself again. It’s a film that has a simple plot yet it is more about a woman trying to take this challenge after hitting bottom in her life as she reflects not just the passing of her mother Bobbi (Laura Dern) but also the events that lead to her own troubles as she nearly killed herself through addiction. Nick Hornby’s script has a back-and-forth reflective narrative where Strayed looks back in her life as she thinks about the life she had with her mother whom she adores but also how it fell apart when she died. During the course of her journey on the trail, Strayed deal with her inexperience as well as getting some of the wrong equipment and other challenges as it seemed like she wouldn’t succeed. Still, she finds a way while also thinking about her own faults as she does get packages from her ex-husband Paul (Thomas Sadoski) during her stops on the trail.

Jean-Marc Vallee’s direction is mesmerizing not just for the fact that it was shot on location in the many spots of the Pacific Crest Trail but also create something that feels natural. Also shot in locations around California and Oregon, Vallee creates many of the flashback scenes with a sense of intimacy with its usage of close-ups and medium shots from Strayed’s time of happiness with her mother and the early years of her marriage to Paul as well as her descent into heroin addiction and promiscuous sex. The scenes set on the trail has Vallee using more wide shots to establish the locations while going for something that feels real as if the audience is along for the journey.

The usage of hand-held cameras, high and low angles as well as compositions that play into something real definitely adds some weight to what Strayed is encountering. Even as there are these moments that play into her own grief where she would see her mother or something that is symbolic. All of which play into a journey that a woman has to take in the need to move on in the next phase of her life. Overall, Vallee creates a fascinating yet evocative film about a woman taking on a personal journey to find herself again.

Cinematographer Yves Berlanger does brilliant work with the film‘s cinematography from the naturalistic and colorful look of the exterior locations in the trail along with some lighting for some scenes in the cities as well as some lights for some scenes at night including naturalistic lights on the trail. Editors Jean-Marc Vallee, in his John Mac McMurphy pseudonym, and Martin Pensa do excellent work with the editing with its stylish montages for some of Strayed‘s flashbacks as well as some jump-cuts and other cuts to play into the drama. Production designer John Paino, with set decorator Robert Covelman and art director Javiera Varas, does nice work with the look of the motels and places Strayed has been in as well as her family home with her mother and some of the places on the trail.

Costume designer Melissa Bruning does terrific work with the costumes as it‘s mostly casual with a lot of the look play into the period of the mid-90s which the film is set in. Visual effects supervisors Marc Cote and Jean-Francois Ferland does some fine work with the visual effects as it‘s mainly set dressing along with the design of a few animals that Strayed would encounter. Sound editors Mildred Iatrou and Ai-Ling Lee do superb work with the sound as it play into the natural elements of the locations as well as some of the textures of things that Strayed hears in the flashbacks. Music supervisor Susan Jacobs creates a fantastic soundtrack that features an array of music from Stevie Ray Vaughn, Paul McCartney & Wings, Leonard Cohen, the Shangri-Las, Free, Portishead, Billy Shaw, Lucinda Williams, the Hollies, Bruce Springsteen, Pat Methany Group, Elvis Presley, and Simon & Garfunkel.

The casting of David Rubin is wonderful as it feature some notable small roles from Art Alexakis of Everclear as a tattoo artist, Mo McRae as a reporter who mistakes Cheryl as a hobo, Cliff DeYoung as a man at a trail stop who helps Cheryl find the right equipment, Cathryn de Prume as a hiker who is also walking the trail that Cheryl befriends, Bobbi Lindstrom Strayed as the young Cheryl, Jason Newell as Cheryl’s alcoholic father in the flashbacks, W. Earl Brown as a construction worker who gives Cheryl a place to crash for a day, Jan Hoag as the construction worker’s wife, Ray Buckley as Cheryl’s junkie lover, and the real Cheryl Strayed as the woman who would drop Cheryl off at the beginning of the film. Other noteworthy small roles include Brian Van Holt as a park ranger who lets Cheryl get her package late in the film, Michael Huisman as a man Cheryl meets and sleeps with in Oregon during a stop late in the trail, and Kevin Rankin as a fellow hiker who is also on the trail that helps Cheryl find her way.

Gaby Hoffmann is superb as Cheryl’s friend Aimee who would be one of the few that Cheryl would contact during her trail as well as be the one to call her out in the flashbacks on her self-destructive behavior. Keene McRae is terrific as Cheryl’s younger brother Leif who is seen in flashbacks as someone who has a hard time losing his mother as he often couldn’t face it while having to do something that would add more pain to him and Cheryl. Thomas Sadoski is excellent as Cheryl’s ex-husband Paul who is seen as a bitter man that was mistreated in the flashbacks only to become someone reluctant to help Cheryl out in sending packages. Laura Dern is incredible as Cheryl’s mother Bobbi as a free-spirited woman who is the one person that Cheryl treasures more than anyone until she becomes ill as she would be a spirit to help her daughter. Finally, there’s Reese Witherspoon in a phenomenal performance as Cheryl Strayed as a troubled woman whose descent into addiction and self-destruction would force her to make a change by taking the challenge of hiking the Pacific Crest Trail. Witherspoon’s performance is definitely a marvel to watch in the way she struggles with her inexperience in camping but also present a physicality and drive that is key to the performance as it is one of Witherspoon’s finest achievements.

Wild is a remarkable film from Jean-Marc Vallee that features great performances from Reese Witherspoon and Laura Dern. It’s a film that isn’t just about a woman taking on a major challenge but it’s also a film that explores a woman dealing with grief and disappointment as she tries to find redemption in her journey. In the end, Wild is a sensational film from Jean-Marc Vallee.

Jean-Marc Vallee Films: (Black List) - (Los Locos) - (Loser Love) - (C.R.A.Z.Y.) - The Young Victoria - (Café de Flore) - Dallas Buyers Club - Demolition (2015 film) - (Big Little Lies (TV miniseries))

© thevoid99 2016

The Hunger (1983 film)

Based on the novel by Whitley Strieber, The Hunger is the story about a doctor who finds herself in a strange love triangle involving vampires during her research on the world of aging. Directed by Tony Scott and screenplay by Ivan Davis, and Michael Thomas the film is a stylish take on the world of vampires as one of them tries to gain immortality forcing his lover to face the truth as she seeks a new lover. Starring Catherine Deneuve, Susan Sarandon, David Bowie, Cliff de Young, and Dan Hedaya. The Hunger is an entrancing yet hypnotic film from Tony Scott.

The film is about a vampire couple who had been living for three centuries as prey on those to feed on their appetite for blood. Upon learning about a woman’s research on aging and the idea of eternal life, one of the vampires is seeking to know more as he finds himself aging rapidly forcing his lover to think about getting a new one in the woman who had been working on this research. Yet, it’s a film that plays into the idea of eternal life as a man named John Blaylock (David Bowie) deals with his aging as he asks his lover Miriam (Catherine Deneuve) about the aging process as she had previous lovers who had fallen to the fate that he’s about to fall prey to. John turns to Sarah Roberts (Susan Sarandon) whose research on aging has him intrigued but she doesn’t believe that he’s aging until some time later as she attracts the attention of Miriam where she finds herself in a very strange situation.

The film’s screenplay does have this unique structure where the first act is about John and Miriam’s relationship as well as John dealing with his aging as he turns to Sarah for help based on her research. The second act is about Sarah meeting Miriam where the former becomes strangely obsessed with the latter which then leads to the relationship as Sarah is unaware of what Miriam really is. It all would play in this third act where Sarah is forced to deal with her symptoms as well as what she might become. Though its climax would play into Miriam’s claims that she would give Sarah eternal life and to love forever and ever as Sarah would make a decision. Its ending would unfortunately lose some of that emotional impact as well as create some confusion into the fate of its main characters as it is revealed that the ending was more enforced by the studio.

Tony Scott’s direction is definitely a major highlight of the film in not just the compositions that he creates but also infuse with a high degree of style. While it’s a style that isn’t for everyone, it does play into an atmosphere that is sort of Gothic in some respects where the film opens at a Goth disco where the legendary Goth band Bauhaus plays. Scott would infuse the film with some symbolism where the scene of John and Miriam killing their prey that is inter-cut with a lab monkey killing another as it would play into Sarah’s research. Scott’s direction also includes a few stylish flashbacks and some slow-motion action to play out some of the drama and terror that occurs. Even in a very stylish and sort of operatic love scene between Miriam and Sarah that does have this great element of beauty and horror. Despite its tacked-on ending, Scott manages to create a very ravishing yet exhilarating film about vampires and their desire for eternal life.

Cinematographer Stephen Goldenblatt does amazing work with the film‘s stylish photography with its array of shadows and shades to play with its lighting to convey a Gothic mood for the film in many of its interior scenes. Editor Pamela Power does excellent work with the editing as it very stylized with some jump-cuts and slow-motion cuts to play into some of its symbolism and suspense. Production designer Brian Morris, with set decorator Ann Mollo and art director Clinton Cavers, does fantastic work with the look of John and Miriam‘s posh New York City penthouse as well as the lab where Sarah works at.

Costume designer Milena Canonero does excellent work with the costumes from the period clothes that John and Miriam wore to Goth clothes of the time while a lot of the dresses that Miriam wears is from Yves St. Laurent. Special makeup work by Antony Clavet does brilliant work with the makeup to display John‘s rapid aging as he struggles with the fate he might play into. Sound editor Peter Pennell does superb work with the sound to create some unique effects on some of the dialogue as well as some textures to play out the suspense. The film’s music by Denny Jaeger and Michel Rubini is terrific for its chilling, electronic-based score to play out some of the drama while a lot of the music that is assembled by music supervisor Howard Blake features a wide array of classical and opera music from composers like Franz Schubert, Johann Sebastian Bach, Gregorio Allegri, Maurice Ravel, and Leos Delibes as well as some modern music from the Goth band Bauhaus and Iggy Pop.

The film’s cast features some early cameos from John Pankow and Willem Dafoe as a couple of punks as well as Ann Magnuson and John Stephen Hill as a couple John and Miriam meet in the opening sequence that features Bauhaus. Other notable small roles include Dan Hedaya as a police investigator, Beth Ehlers as a tomboy violinist John and Miriam teach, and Cliff De Young as Sarah’s boyfriend Tom who becomes concerned about Sarah’s condition. Susan Sarandon is brilliant as Sarah Roberts as an age researcher who is eager to find a way to slow down the aging process while finding herself becoming attracted towards Miriam.

David Bowie is amazing as John Blaylock as a man struggling with his rapid-aging as he also realizes the fate that he might play that Miriam’s previous lovers have succumbed to. Finally, there’s Catherine Deneuve in a phenomenal performance as Miriam Blaylock as a woman who had lived a very long life as a vampire as she deals with John’s aging and possible fate while falling for Sarah as she seeks to take her as her new lover.

The Hunger is a marvelous film from Tony Scott thanks in part to its Gothic imagery, brooding soundtrack, and the performances of Catherine Deneuve, David Bowie, and Susan Sarandon. While it’s not a perfect film that includes a pretty lame ending. It’s still a film that plays into the world of vampires that fans of vampire films can enjoy while it is very unapologetic in its emphasis on style over substance. In the end, The Hunger is a stellar yet mesmerizing film from Tony Scott.

Tony Scott Films: (One of the Missing) - (Loving Memory) - (Top Gun) - (Revenge) - (Days of Thunder) - (The Last Boy Scout) - True Romance - (Crimson Tide) - (The Fan) - (Enemy of the State) - (Spy Game) - (Man on Fire) - (Domino) - (Déjà Vu) - (The Taking of Pelham 123 (2009 film)) - (Unstoppable)

© thevoid99 2013

Road to Nowhere

Directed by Monte Hellman and written by Steven Gaydos, Road to Nowhere is the story of a filmmaker who falls for a young actress as she is suspected for her involvement in the disappearance of a rich couple. Yet, he bases on the story of a disappearance as makes it into a film with his new muse. The film explores the world of art and how one is willing to go into delving into dark realities. Starring Cliff de Young, Shannyn Sossaman, Dominique Swain, Tygh Runyan, Fabio Testi, Waylon Payne, and John Diehl. Road to Nowhere is an intriguing but very pretentious film from Monte Hellman.

Mitchell Haven (Tygh Runyan) is a young filmmaker on the rise as he has decided to make his next project about the disappearances and possible deaths of a rich couple named Rafe Tachen (Cliff de Young) and Velma Duran (Shannyn Sossaman) that also led to the death of a corrupt cop (John Diehl). After reading a report on a blog by reporter Nathalie Post (Dominique Swain), Haven decides to make the project for his next film as it is to star Cary Stewart (Cliff de Young) in the role of Rafe Tachen. During the casting process for the film, Haven makes a discovery in a young actress named Laurel Graham (Shannyn Sossaman) whom he decides to meet in Rome, Italy where she’s traveling. While she looks a lot like Duran, Haven cast her for the role of Duran as Haven falls for her.

In hopes to make the film into a masterpiece, he decides to shoot the film on location where Post joins the set along with an insurance investigator named Bruno Brotherton (Waylon Payne) serves as the film’s consultant. With Haven working on the film with his actors, Brotherton tries to piece everything out that really happens with Post’s help. While Haven becomes more intent on making his film better while being enamored with Graham’s beauty. Brotherton suspects something isn’t right as he starts to think that Graham isn’t exactly who she seems to be as Haven becomes unsure of what is happening.

The film is noir-telling of a murder and possible mystery involving the loss of $100 million and a couple’s disappearance that is re-told by a young filmmaker who hopes to create a film as great as those he’s inspired by. Yet, it is a film that blurs the world of fiction and reality as a filmmaker tries to create a film where there’s a man playing the same man who looks exactly like him. Steven Gaydos’ screenplay does play into the world of film noir while creating a storyline where it’s a film-within-a-film. It’s a premise that is interesting but also confusing since there’s characters who play doppelgangers of the story they’re portraying. Even as there’s this gorgeous ingenue who would meet this man and another man (Fabio Testi) in which the latter claims to be the dead woman’s father.

Though things start to make sense towards the end about what is going on, the payoff of the story isn’t very satisfying as the only reveal is what is happening in the film’s opening scene. Gaydos’ script does create a lot of interesting characters and utilize suspense in a nice way. The problem is that he creates a narrative where it tries to move back and forth into fiction and reality where it would end up confusing the audience into what they’re seeing.

Monte Hellman’s direction is truly mesmerizing in some of the making of the film scenes as well as the actual real-life story that occurs in the film. Maintaining the noir-like tone of the film for a lot of these re-enactments, Hellman’s approach to the scenery is very entrancing in the way its filmed and set-up. The way he opens the film is another moment that is interesting where it’s shot in a room featuring Post and Haven as they put in a DVD-R with the film’s title into a laptop as the camera slowly zooms into the scene they’re watching. There’s a lot of great moments in the direction including some of the making-of film scenes. Still, the script’s shortcomings involving the investigation and scenes involving the doppelgangers don’t really work despite the beautiful locations. Due to the script’s messy narrative and emphasis to be meta in its approach to reality and fiction, Hellman creates a film that is about the sum of its parts rather than the whole thing.

Cinematographer Joesp M. Civit does a brilliant job with the film‘s lush yet evocative digital photography that is shot with a Canon EOS 5D Mark II that truly breathes beauty into the look of the North Carolina locations along with more gorgeous work for some of the nighttime scenes in Europe. Editor Celine Ameslon does a nice job with the editing to play up the rhythm of the film‘s suspense without delving into more stylish rhythmic cuts while playing along to the film‘s unique although confusing story structure. Production designer Laurie Post, along with art directors Callie Andreadis and Araceli Lemos, does a terrific job with the look of the posh world of Hollywood as well as the more refined yet comfortable world of the North Carolina locations the characters work at for the film.

Costume designer Chelsea Staebell does some fine work with the costumes as most of it is casual with the exception of Laurel who puts on some very stylish clothes to play up her personality. Visual effects work by Joseph Schultz does some very good work with the minimal visual effects used in the film such as the scenes involving the plane. Sound editor Aynee Osborn does an excellent job with the sound work to convey the sense of dread and suspense that occurs including in some of the film‘s intimate moments. The film’s music consists of country songs performed by Tom Russell is wonderful as it plays to many of the film’s dramatic moments.

The film’s ensemble cast is great as it features some notable appearances from Fabio Testi as Velma’s father, John Diehl as the cop and actor who plays the cop in the incident scene, Rob Kolar as the film’s screenwriter, and film producer Peter Bart as himself for an interview scene with Haven. Waylon Payne is pretty good as the charming but nosy insurance investigator Bruno Brotherton who would uncover some mysteries about the actual story on the film that is being made. Dominique Swain is terrific as the lively journalist Nathalie Post who would help Brotherton in the investigation while providing insight about what might’ve happened. Cliff de Young is excellent in the dual roles of smarmy millionaire Rafe Tachen as well as the aging yet concerned actor Carey Stewart.

Tygh Runyan is good as filmmaker Mitchell Haven who is desperate to create a great film only to lose sight of his work as it’s a performance that has some moments though Runyan is sort of bland in his performance. Finally, there’s Shannyn Sossaman in a remarkable performance in the dual roles of Velma Duran and Laurel Graham. Sossaman brings a very ethereal and enchanting approach to her character who could be the same person while dealing with all of the chaos that goes on in the set and the mystery surrounding the incident.

Road to Nowhere is a decent but messy film from Monte Hellman despite some amazing scenes and a captivating performance from Shannyn Sossaman. While it is great to see Hellman back in the film world after a 21-year hiatus. It doesn’t mean that his return should be totally applauded due to the film’s indistinct script. Still, Road to Nowhere isn’t a total waste of time as it does feature some amazing nods to film noir and suspense told from one of indie cinema’s great masters.

Monte Hellman Films: (Beast from Haunted Cave) - (Flight to Fury) - (Back Door to Hell) - (Ride in the Whirlwind) - (The Shooting) - (Two-Lane Blacktop) - (Cockfighter) - (The Greatest (1977 film) - (China 9, Liberty 37) - (Avalanche Express) - (Iguana) - (Silent Night, Deadly Night 3: Better Watch Out)

© thevoid99 2012