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King of New York is a film that fits into the stylistic tone of other New York City underworld movies, Escape from New York and Good Time. The use of color; like neon deep blues, gives this sub-genre an interesting visual tone.
One film in particular that is condemned in this way is Scarface. Children in the film say they want to be like Tony Montana but the life of crime they find is not the one that they had envisioned from the movies.
We learn so much from what we see, and movies offer that visual context to language learning like nothing else can. You actually see language as it animates the interactions of characters in the film. You see the gestures as wielded by native speakers, the subtle nuances that make the language so vivid.
The language learning program FluentU has a tailor-made video player that can solve these problems. The platform features hundreds of Italian videos that come from real sources, like movie trailers, drama clips and cooking shows. And when you find something that interests you, each video is equipped with interactive subtitles so learning a new Italian word in context is as simple as hovering over the word.
69. The parable is clear and straightforward, yet it also evokes the interior struggle that each of us experiences as we gradually come to know ourselves through our relationships with our brothers and sisters. Sooner or later, we will all encounter a person who is suffering. Today there are more and more of them. The decision to include or exclude those lying wounded along the roadside can serve as a criterion for judging every economic, political, social and religious project. Each day we have to decide whether to be Good Samaritans or indifferent bystanders. And if we extend our gaze to the history of our own lives and that of the entire world, all of us are, or have been, like each of the characters in the parable. All of us have in ourselves something of the wounded man, something of the robber, something of the passers-by, and something of the Good Samaritan.
97. Some peripheries are close to us, in city centres or within our families. Hence there is an aspect of universal openness in love that is existential rather than geographical. It has to do with our daily efforts to expand our circle of friends, to reach those who, even though they are close to me, I do not naturally consider a part of my circle of interests. Every brother or sister in need, when abandoned or ignored by the society in which I live, becomes an existential foreigner, even though born in the same country. They may be citizens with full rights, yet they are treated like foreigners in their own country. Racism is a virus that quickly mutates and, instead of disappearing, goes into hiding, and lurks in waiting.
286. In these pages of reflection on universal fraternity, I felt inspired particularly by Saint Francis of Assisi, but also by others of our brothers and sisters who are not Catholics: Martin Luther King, Desmond Tutu, Mahatma Gandhi and many more. Yet I would like to conclude by mentioning another person of deep faith who, drawing upon his intense experience of God, made a journey of transformation towards feeling a brother to all. I am speaking of Blessed Charles de Foucauld.
"The Bread, My Sweet" tells an improbable love story in such a heartfelt way that it's impossible to be cynical in the face of its innocence. Filmed in Pittsburgh, where it has been playing to full houses since January, it now gets a national release, thanks to the success of "My Big Fat Greek Wedding," another unlikely hit about ethnic romance. It's likely to appeal to the same kinds of audiences.
The movie stars Scott Baio as Dominic, who has two careers. He works downtown as a corporate raider whose job is to fire people at the companies he acquires. And he also owns a little pastry shop in an old Italian neighborhood, which provides jobs for his two brothers: Pino (Shuler Hensley), who is retarded, and Eddie (Billy Mott), who floats through life without direction.
The first act establishes these people, their personalities and needs, and shows that Dominic is increasingly unhappy with his corporate job. Having opened the bakery out of love for his brothers, he finds he loves it, too--and the old couple who live upstairs. I must explain what happens next to deal with the movie at all, so you might want to file this if you don't want to know that ...
The gangster movie. It's the genre that made actors like Robert De Niro, Al Pacino, and Joe Pesci into household names, and directors like Martin Scorsese, Francis Ford Coppola, and Brian De Palma into iconic figures in Hollywood.
Though this American remake by Martin Scorsese of the Hong Kong hit "Infernal Affairs" finally scored him a best director Oscar and stars the likes of Leonardo DiCaprio, Jack Nicholson, and Matt Damon, it's hardly the best of Scorsese's gangster movies.
The Hughes brothers' gripping look at criminal life inside the Watts neighborhood of Los Angeles focuses on two friends: one (Tyrin Turner) who is finding a way to get out of the life and the other (Larenz Tate) who fully embraces it.
This Hong Kong hit, featuring many of the region's biggest stars, is definitely worth the watch if you liked "The Departed" (which is the American remake of this movie). The story and characters feel fresher and more thought out than the US version.
Jonathan Glazer's beautifully shot gangster movie features amazing performances from Ray Winstone as a retired safe cracker who isn't interested in doing one last job and Ben Kingsley as the guy who has to convince him to do it.
The battles behind Francis Ford Coppola's surreal war movie are well-documented: the nightmarish, multiyear shoot; star Martin Sheen's heart attack and recovery; a cackling press corps that sharpened its knives for a turkey of epic proportions. Coppola would have the last laugh. So much of the vocabulary of the modern-day war picture comes from this movie, an operatic Vietnam-set tragedy shaped out of whirring helicopter blades, Wagnerian explosions, purple haze and Joseph Conrad's colonialist fantasia Heart of Darkness. Fans of the Godfather director, so pivotal to the 1970s, know this to be his last fully realized work; connoisseurs of the war movie see it (correctly) as his second all-out masterpiece.
Stop snickering: There's a real reason why this sci-fi actioner is so high on our list. Never before (and probably never again) had the monied apparatus of Hollywood been so co-opted to make a subversive comment about its own fascist impulses. Director Paul Verhoeven cackled all the way to the box office as giant bugs were exterminated by gorgeous, empty-headed bimbos; when Neil Patrick Harris showed up near the end of the movie in a full-length Nazi trench coat, the in-joke was practically outed. Source novelist Robert Heinlein meant his militaristic tale sincerely; meanwhile, the blithe destruction of humankind on display here could only be intended as a sharp critique, both of soldiering and of popular tastes. Return to it with fresh eyes.
Rediscovered in 2006 with the fanfare usually reserved for unearthing a lost classic (which was pretty much the case), Jean-Pierre Melville's cool-blue portrait of French Resistance fighters makes a beautiful case for honor among wanted men. Back-room beatings and drive-by shootings spark a mostly conversational film about the sacrifice of spies. Melville's reputation had previously rested on chilly, remote gangster pictures like Le Samouraï (1967), but to see his canvas widened to national politics was a revelation. And the reason the movie had been ignored in the first place? Fashionable French critics had dismissed it as too pro-De Gaulle. What comes around...
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully.
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This corpus contains recordings of pairs of brothers between the ages of 19 and 31. The native and recorded language is German. Recordings consist of minimal pairs in carrier sentences, a different set of sentences aimed at elicitating the full range of German vowels ('Berliner Sätze'), and a spontaneous dialogue about a TV-series. Recordings were made via a table microphone (studio quality) and via telephone (telephone quality).
Death in Venice is a little bit of an arty, European Venice film so it may not be for everyone. The subject matter also makes it not the most wanderlust-inspiring movie set in Venice (people dying, a grown-ass man smitten with a 14-year-old, etc.). But if you like stylised movies and want to edge a little out of your comfort zone but not tonnes, this film is a good pick.
Many of the best movies set in Venice feature upper-class English people who are either holidaying in Venice or have escaped there to spend the rest of their days as drunk artists and disappointments to their well-to-do parents. Or something like that. 2b1af7f3a8