The robbery nobody thought could happen by the guys nobody thought could pull it off.Peter Falk heads a charismatic cast in this stylish and witty account of the Great Brink's Robbery of 1950 one of the twentieth century's most skilful heists. Helmed by William Friedkin, the Oscar-winning director of The French Connection and The Exorcist, this Oscar-nominated film is made available here in a brand-new transfer from the original film elements, in its original theatrical aspect ratio.Hoping to break a run of back luck, small-time crook Tony Pino and his gang target a Brink's armoured car and walk away with small fortune. When the raid goes unreported, Tony reconnoitres the firm's supposedly impregnable Boston headquarters and finds the level of security is risibly lax. He begins to plan something a little more impressive...SPECIAL FEATURES: Original Theatrical Trailer Image Gallery
Director Wim Wenders' most corrosive statement on the art of filmmaking 'The State of Things' is a powerful journey into the underbelly of the American film industry. When his Hollywood producer disappears leaving the actors and crew on the Portugese set of a sci-fi thriller with no money or film director Friedrich Munro (Patrick Bauchau) travels to Hollywood to find him. What he uncovers is a shady world where criminals and moguls barely differ and the art of filmmaking is merely another money-making enterprise. The result is both visually arresting and one of the best films about filmmaking ever made.
Vietnam veteran Cameron (Steve Railsback) is on the run from the police when he stumbles onto the set of a war movie directed by megalomaniac Eli Cross (Peter O'Toole). But when the young fugitive is forced to replace a dead stunt man he falls in love with the movies leading lady (Barbara Hershey) while trying to avoid getting arrested or killed. Is Eli trying to capture Cameron's death on film? And what happens to a paranoid stunt man when illusion and reality change places?
Vietnam veteran Cameron (Steve Railsback) is on the run from the police when he stumbles onto the set of a war movie directed by megalomaniac Eli Cross (Peter O'Toole). But when the young fugitive is forced to replace a dead stunt man he falls in love with the movies leading lady (Barbara Hershey) while trying to avoid getting arrested or killed. Is Eli trying to capture Cameron's death on film? And what happens to a paranoid stunt man when illusion and reality change places?
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