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for an adventurous though inexperienced producer it became very easy to make [genre] movies [in Italy], also because Italian cinema could count on many well-trained professionals skilled at containing costs. Once a picture had been sold in advance to a distributor, it was relatively easy for its producer to access the governmental loan fund. Then, as a rule, the producer actually made the movie using about half of the original estimated budget, keeping the rest as his wages; the distributor was left to face the uncertainties of the market (Baschiera and Di Chiara, 2010, p 31).
Stephanie Zacharek, writing for Salon.com, liked the reinvention of the plot and the style and execution of the action sequences, specifically those involving the trio of Mini Coopers, which she wrote were the stars of the film. BBC reviewer Stella Papamichael gave The Italian Job 4 stars out of 5, and wrote that the \"revenge plot adds wallop lacking in the original.\" Los Angeles Times reviewer Kevin Thomas praised the opening Venice heist sequence and the characterization of each of the thieves, but felt that the Los Angeles heist sequence was \"arguably stretched out a little too long.\" Roger Ebert gave the film 3 stars out of 4, writing that the film was \"two hours of mindless escapism on a relatively skilled professional level.\" Mick LaSalle of the San Francisco Chronicle concurred, describing The Italian Job as pure but smart entertainment \"plotted and executed with invention and humor.\" Reviewer James Berardinelli also gave the film 3 stars out of 4, and said that Gray had discovered the right recipe to do a heist movie: \"keep things moving, develop a nice rapport between the leads, toss in the occasional surprise, and top with a sprinkling of panache.\" Variety's Robert Koehler compared The Italian Job to The Score (2001), another \"finely tuned heist pic\" which also featured Edward Norton in a similar role.
Kerekes noted the animal slaughter and inclusion of footage from The Last Road to Hell as adding to the sense of reality of the film. Lloyd Kaufman of Troma Entertainment compares these scenes to Vsevolod Pudovkin's theory of montage, saying: \"In Cannibal Holocaust, we see the actors kill and rip apart a giant sea turtle and other animals. [...] The brain has been conditioned to accept that which it's now seeing as real. This mixture of real and staged violence, combined with the handheld camerawork and the rough, unedited quality of the second half of the movie, is certainly enough to convince someone that what they are watching is real.\" Deodato says he included the execution footage in The Last Road to Hell to draw further similarities to Cannibal Holocaust and the Mondo filmmaking of Gualtiero Jacopetti.
Cannibal Holocaust also faced censorship issues in other countries around the world. In 1981, video releases were not required to pass before the British Board of Film Censors (BBFC), which had power to ban films in the United Kingdom. Cannibal Holocaust was released straight-to-video there, thus avoiding the possible banning of the film. This did not save the movie, however, because in 1983, the Director of Public Prosecutions compiled a list of 72 video releases that were not brought before the BBFC for certification and declared them prosecutable for obscenity. This list of \"video nasties\" included Cannibal Holocaust, which was successfully prosecuted and banned. The film was not approved for release in the UK until 2001, albeit with nearly six minutes of mandated cuts. In 2011, the BBFC waived all but one of these previous edits and passed Cannibal Holocaust with fifteen seconds of cuts. It was determined that the only scene that breached the BBFC's guidelines was the killing of a coatimundi, and the BBFC acknowledged that previous cuts were reactionary to the film's reputation.
Legend has it that Ascanio, son of the Trojan hero Aeneas (son of Venus and Anchises), founded the city of Alba Longa on the right bank of the river Tiber. Many of Aeneas decedents reigned this settlement peacefully. When Nimitor was king, his brother Amulius seized the power and dethroned Nimitor, killing his male heirs and forcing his daughter, Rhea Silvia, to become a Vestal Virgin so that she would not provide a male heir to the throne.
There, the boys were found by a she-wolf called Lupa who nursed them in her lair in Palatine Hill until they were found by a shepherd and his wife, who raised them as shepherds. As adults, Romulus and Remus were two natural born leaders and in a fight killed King Amulius and reinstated Nimitor as king of Alba Longa. Seeking to establish their own settlement, Romulus finally built a wall around the Palatine Hill, the location he had chosen for the founding Rome.
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.
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An Italian American himself, Cavallero admits that he was \"not very ethnic\" growing up (xiii). Yet he argues that ethnicity runs deep, that it is apparent in the way a family interacts and communicates. In studying the work of the above five filmmakers, Cavallero analyzes the concept of ethnicity as it relates to Italian Americans in various circumstances, whether they be immigrants newly arrived in the U.S. or second and third generation Italian Americans trying to find their place in the world while maintaining ties to their families and neighborhoods. He begins by examining the films of Frank Capra, a director working at a time of what the author calls \"ethnic denial\" (10), and ends his study with the postmodern oeuvre of Tarantino. Throughout, he carefully investigates the evolution of the perception of Italians and Italian Americans on film; he also discusses such issues as gender through Savoca's [End Page 39] female working-class protagonists, the depiction of violence in Coppola's Godfather films, and the changing dynamic of the Italian family. His discussion of the Godfather films is especially interesting in this respect as he traces the various ways characters attempt to protect their loved ones even though the family is \"always in jeopardy\" in the trilogy (119). In addition, he uses the concept of La Bella Figura (the idea that there are social norms and modes of behavior that are acceptable within Italian American culture) to examine the dilemmas of many characters in these films who wish to break with tradition but do not know how or are afraid to do so--J.R. (Harvey Keitel) in Scorsese's Who's that Knocking at My Door (1967), for example. In his discussion of each filmmaker it becomes clear that some of these artists relate more to their Italian roots than others. Nancy Savoca, for example, is ambivalent about her ethnicity since her father was born in Italy but raised in Argentina. When asked if she considers herself Italian American, her response is \"Yes and no. And yes and no....\" (77). In the case of Tarantino, the author actually poses the question: \"Is Tarantino, despite his lack of any interaction with his father, Italian American\" According to Cavallero, in Tarantino's films ethnicity is defined primarily through performance (see, for example, the discussion of Kill Bill, Volume 1 and Reservoir Dogs as well as the chapter sub-titles \"Identity as performance\" and \"How to feel Ethnic without being Ethnic\" 129; 128; 145).
He decides to take everything in the world down before going to Vatican City to kill Jesus Christ before he is born (being at 2013 and 0 B.C at the same moment) and killing him to complete his mission.
When John arrives, Santino reveals to him that the works of art around her come from his father's private collection and are therefore of special value to him. He also reveals that he would have left John alone had he really stayed in retirement. Amused, he realizes that Wick is thinking about how he can kill Santino and asks him how he would do it. John replies hatefully that he would do Santino with his bare hands, and now wants to know what he is asking of him. Santino reveals to John that he should kill his sister Gianna so that he can get her seat in the High Table. Although John thinks this mission is impossible and has scruples about killing Gianna, he finally has to submit to the order and learns from Santino that his sister is currently in Rome and that he can use a secret path in the catacombs to reach her.
In the end, the dog is accidentally trained to start killing white people instead of black people and is shot. The movie rights were bought by NBC for an edited TV broadcast but they canceled the plan when the NAACP, advertisers and viewers were outraged. In fairness, the movie was intended as an examination of racism as a mental disease, but that message was lost.
\"The Sheik\" is about a stubborn woman who stumbles into a forced marriage with a sheik after she witnesses some rich Arab men gambling off their women. Spoiler alert: The two fall in love and stay married. The movie was a gigantic box-office hit in 1921 and George Valentino in the lead role was an instant heartthrob. 153554b96e