The glory years of the Italian Poliziottesco (cop/crime thriller) were actually already over in 1980, but we gladly make an exception in case director Enzo G. Castellari and actor Franco Nero team up for another cult effort together. The luscious as always Sybil Danning addresses to Franco's character as Humphrey Bogart at one point, and a more accurate description I couldn't possibly give! At the start of the film, Larry Staziani is a sleazy San Franciscan private eye occupied with stalking unfaithful housewives and locating rich women's lost dogs, but he's called back to his home country of Italy to help arrest a homosexual super-criminal by the name of Kadrinksy (or something). It quickly becomes obvious that Larry also has a personal score to settle with this obscure individual, as his corruptness caused Larry's career downfall and even an imprisonment. Oh well, at least by traveling voluntarily to Italy to settle the vendetta, Larry re-earns his trademark nickname of "The Cobra". This primarily is a film to please Franco's many avid fans, and undeniably he's cooler than cool as the Cobra. He continuously bounces a little toy ball against the heads of his opponents, deliberately ruins millions worth of cocaine right in front of the dealers' eyes, sticks him gum on people's foreheads, slaps women in the face and yet still they throw themselves at his feet not even a mere two minutes later! Nero's vivid performance makes you forget that the plot is actually just mediocre and nothing you haven't seen a dozen times before. There are some occasional flashes of sheer eccentric brilliance, like the Cobra's Kung-Fu battle with a transvestite for example! The dialogs are fluently written and Nero receives excellent support from Danning, veteran actor William Berger and Ennio Girolami (the director's brother) as a sinister killer. There's a fair amount of action, though sadly nothing really sadistic, and the film comes the obligatory catchy theme song entitled "Don't Give a Damn, I am the Cobra".

"The Witch Burnt Alive"
After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
"Community Spirit"
Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
"The Earth Seen from the Moon"
The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
"The Sicilian"
Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
"A Night Like Any Other"
Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

Quartetto Basileus is a 1983 Italian film. It stars actor Gabriele Ferzetti.

Anna is a girl who has been under psychiatric therapy for a long time and she needs lots and lots of love.

A film documentarian stops at nothing to record unusual and supposedly true-to-life situations.