Documentarian Lech Kowalski had the good fortune to be pointing his camera at one of the great cultural train wrecks of the postwar era: the Sex Pistols' ill-advised weeklong tour of the American south in January 1978, an experience so tense and dismal the band split up after the last show.
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A clever but not particularly memorable film noir (1949), directed by the great cinematographer Rudolph Mate (who photographed Dreyer's Vampyr and McCarey's Love Affair, among many other important films).
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In this comedy by Robert Alaniz, a freelance journalist rises to political prominence after writing about discrimination against married, childless couples.
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Hugh Leonard's adaptation of his autobiographical play of the same title, partially based in turn on his book Home Before Night, offers a charming mix of childhood memoir and speculative wish fulfillment.
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Dan Brown's mega-selling novel might have made a great ten-hour miniseries: its elaborate riddles and clues could have been properly teased, the cliff-hangers savored, and the sudsy relationships given an appropriately vulgar treatment.
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Eddie Murphy, who used to score points off Bill Cosby and Mr. Rogers, enlarged his profitable new sideline as a kiddie matinee idol (Dr. Dolittle) with this innocuous 2003 comedy about a marketing executive who gets laid off and decides to open a home day-care facility.
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Mary Pickford plays a 12-year-old orphan who grows up to fall in love with her wealthy guardian (Mahlon Hamilton) in this 1919 comedy-drama directed by Marshall Neilan—a film remade in 1931 with Janet Gaynor and Warner Baxter and in 1955 with Leslie Caron and Fred Astaire.
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Jean Negulesco, master of forgettable 20th Century-Fox wide-screen comedies (Three Coins in the Fountain, How to Marry a Millionaire), puts Fred Astaire and Leslie Caron through their paces in this languid 1955 musical-romance about a playboy who puts a French waif through school, but doesn't meet her until she's a grown-up knockout.
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Ronald Bronstein, who wrote and directed the disquieting indie Frownland, steps in front of the cameras for this similarly lo-fi drama, and his loose-limbed performance as the brash, irresponsible father of two young boys establishes him as a genuine triple threat.
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