A low-rent private investigator and former cop is sent to Austria on a job, and while there sees a number of seemingly unrelated coincidences that lead him into a strange web of corruption and decadence.

1963 film by Dino Risi, Mauro Morassi

When the Minister of the Interior accidentally becomes locked inside his computerized, armoured limo following a mechanical failure, it triggers a series of headline-making events, especially as he happens to be in front of his political opponent's home. The event becomes a scandal involving many, including the rival, his feminist daughter, his wife, and her one-time terrorist lover hiding in the basement.

Mayor Peppone might very well lose the elections and Don Camillo makes sure that the mayor's delinquent son gets his act together while his own niece makes Peppone think she is pregnant by his son.

Four episodes set on the beaches of Rimini: a womanizer pretends to be homosexual in order to gain the favors of a beautiful woman who ignores him. A mature beachgoer suffers from indigestion. A businessman unknowingly finances his wife's infidelities. Two wives from the south are forced to exchange partners.

This time the "amici" (friends) are just four: Necchi, Meandri, Mascetti and Sassaroli. Nevertheless they are older they still love to spend their time mainly organizing irresistible jokes to everyone in every kind of situation. Mascetti is hospitalized in a geriatric clinic. Of course the place become immediately the main stage for all their jokes. After some jokes they decided to place an ultimate incredible and farcical joke to the clinic guests.

A businessman is nicknamed "L'avvocato" and his driver, Oscar, is a yes-man. When L'avvocato has a crash while driving his car, Oscar is put in jail in his place. When Oscar gets out, he finds himself married to the beautiful Maria, but he can't even touch her: she is l'avvocato's lover. Afterwards Oscar is appointed manager, but he can't manage a dime. At the end he shall find himself again in jail, hoping that his "sissignore" (yessir) will let him have, sometime, a driver to send to prison in his place. —

An adaptation of Francis Ford Coppola's The Godfather and The Godfather: Part II, re-edited in chronological order with additional footage not seen in the first two films added.

Emergency Squad/Squadra Volante (the latter actually translating as 'Flying Squad') is an okayish no-budget poliziotteschi that there's absolutely no reason to watch but which fills the time slightly better than expected if you do. The usual cop out to find his wife's killer plot suffers from having a lead who is barely present (the usually reliable Tomas Milian is a surprisingly dull turn in an almost non-existent role), but there are a few minor flourishes (such as Milian imagining crooks standing in front of the targets in a pistol range) and it fulfils every exploitation film's remit: always include an explosion for the trailer and book a helicopter for one day's shooting. The best moment comes not in the film itself but on the DVD extras in a brief but rambling interview with the film's dying director, Stelvio Massi, when he tries to remember the name of some American director who wrote him a fan letter until his wife suddenly remembers: "Tarantino?" "Yes, I think that's it."

Reviewed By: David Stanners
Margherita is an Italian diva caught in a ménage a trios plus one. That'll be a ménage a quatre then? Something like that.
It sounds so promising, but Ferreri's little Italian romp is neither funny nor meaningful. As one may expect, though, being Italian it does manage to knock out a fair bit of style, with a rather sultry, suave female lead (Caroll Baker) playing devious seductress, Margherita. Spoilt for choice, she is unable to decide on which of her three lovers she really wants. On a whim she takes off to visit her friend Mario (William Berger) in Croatia, who persuades her to invite all three over together so she can pick her favourite.
First up there's Gianni (Gastone Moschin), a sugar daddy with deep pockets and good connections. Recently dumped when he tries to tie the knot with Margherita, he is in direct competition with Mike (Michel Le Royer), a somewhat younger, ruggedly handsome, blonde-bearded wild card of a man with an eye patch and a leopard for a pet. Last and probably least is lover No.3, Gaetano (Renato Salvatori), bespectacled and squarest of all but best dressed, suited and booted in Italy's finest.
Slowly Margherita plays one off against the other with some tried and tested female mind games, causing below the belt punches and high elbows in the boys camp. First turning on Mario for colluding with her in setting them up, as each believed they had been invited alone. As the testosterone drives the fight, they turn on each other, competing hammer and tongs for her warped affection. But poco a poco, having being pushed beyond their limits, she tires them out. Scratching their heads at their naive stupidity, they make a U-turn and devise a cunning plan of retribution for the queen of cock tease.
Shot in 1967, around the time the French had made the ménage a trois theme as common as breakfast the morning after, Marco Ferreri makes light of the business of female sexual promiscuity. Bordering on the farcical, The Harem doesn't have enough to sustain it as a decent sexual romp. With next to no plot, it's up to the characters to lead from the front, and although Caroll Baker is perfectly cast, since Ferreri has gone for romp instead of the heavy set script of say Jules et Jim -to make a distant analogy - his characters resemble cartoon strips without the hilarity. Imagine the Carry On films without the smutty humour. Eh, I don't think so.
Style is nothing without substance, and The Harem is just that. While the ending is just and fair, the transporting vehicle is a Ferrari with a Fiat engine.

保罗在附近的小学上学，但是他发现老师只教给他们三个词:信任、服从和战斗，而班里的孩子都会唱一首歌颂法西斯的歌曲。保罗感到自己和其他的孩子不太一样，原来父亲是个反战派，他不让自己的儿子穿"效忠元首"的黑色校服，不想让他被法西斯的思想所统治。
与此同时，一家人的生活变得窘迫起来，大人和孩子都要到田野里挖野菜，然后煮野菜汤喝，每三天才能得到的一个鸡蛋留给了最小的孩子。爷爷向教堂里的牧师忏悔的时候被保罗他们发现，原来爷爷暗暗资助12个反法西斯的战士，把他们藏在了教堂里，两头牛都被宰杀。但是因为还是缺乏食物，最后他把仅有的驴也处理掉了。
战争波及到了小镇，保罗的父亲马利亚诺决定带家人返回罗马，可是在半路却碰到了巡查的德国士兵，只好下车逃走。而母亲带他们回到罗马后，为了支付房租不得不把自己心爱的钢琴折价卖掉，这时，他们又听到了保罗的叔父死亡的消息……

Four inseparable friends try to face their midlife crisis with daytrips and pranks at the expense of their families and the people around them.

Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.

An anthology film that presents three storylines, all set in the Italian town of Treviso. In the first story, a husband pretends to be impotent as a cover for having an affair. In the second, a bank clerk abandons his wife for his mistress, but the rest of the town's husbands become jealous and unite to conspire against them. In the third, men of the town all seduce a promiscuous teenager, but her father eventually reveals that she is underage, and they face prosecution for statutory rape.

In the continuing saga of the Corleone crime family, a young Vito Corleone grows up in Sicily and in 1910s New York. In the 1950s, Michael Corleone attempts to expand the family business into Las Vegas, Hollywood and Cuba.