"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.

A documentary about Vittorio de Sica with clips of his films and testimonials from friends and family.

With the help of an irreverent young sidekick, a bank robber gets his old gang back together to organise a daring new heist.

A brief fling between a male disc jockey and an obsessed female fan takes a frightening, and perhaps even deadly turn when another woman enters the picture.

A classical art professor and collector, who doubles as a professional assassin, is coerced out of retirement to avenge the murder of an old friend.

Phoenix cop Ben Shockley is well on his way to becoming a derelict when he is assigned to transport a witness from Las Vegas. The witness turns out to be a belligerent prostitute with mob ties—and incriminating information regarding a high-ranking official.

Renowned filmmaker John Wilson travels to Africa to direct a new movie, but constantly leaves to hunt elephants and other game, to the dismay of his cast and crew. He eventually becomes obsessed with hunting down and killing one specific elephant.

1993 film directed by Wolfgang Petersen

World War II is raging, and an American general has been captured and is being held hostage in the Schloss Adler, a Bavarian castle that's nearly impossible to breach. It's up to a group of skilled Allied soldiers to liberate the general before it's too late.

September 21, 2001 America: A Tribute to Heroes was a telethon in the style of a benefit concert organized in the aftermath of the Sept ember 11, 2001 attacks on the World Trade Center and The Pentagon by the four major United States television networks 《美国：向英雄致敬America: A Tribute To Heroes》是号召好莱坞明星及流行乐坛歌手在美国纽约发生911恐怖袭击事件后所举行一场慈善演出节目，除了包括 ABC、CBS、FOX、NBC等全美七家主要电视台、三十一家电视公司联合制播外，全球一百五十六个国家也同步播出这一长达二小时没有广告播出的募款活动。 这场由Bruce Springsteen演唱一曲“My City of Ruin”开场的晚会，参与的好莱坞明星共计有：Al Pacino、Julia Roberts、Tom Cruise、Brad Pitt、George Clooney、Will Smith、Cameron Diaz、Jim Carry等巨星，皆在现场号召大家有钱出钱、有力出力。而担任演唱的歌手们，包括：宣布暂时退出歌坛、在家相夫教子的Celine Dion献唱一曲“God Bless America”；Mariah Carey则在节目中登场演唱“Hero”；拉丁小歌王Enrique Iglesias则演唱一首他的“Hero”。男歌手一字排开，有U2合唱团、Bon Jovi、长青树Steve Wander、Bruce Springsteen、Billy Joe、Neil Young等，共同谱出至情至性的感人弦音。尤其值得一提的是Limp Bizkit一改平日的狂噪献上一曲“Wish You Were Here”感人肺腑。 本次演出现场参加人员明星比例100%，就连不会唱歌的电影明星都上台演讲或接听捐款电话。由于实质为慈善演出，整场曲风柔和令人唏嘘，歌手演出称得上绝对上乘，所以也是欣赏性极高的靓碟

Boozer, skirt chaser, careless father. You could create your own list of reporter Steve Everett's faults but there's no time. A San Quentin Death Row prisoner is slated to die at midnight – a man Everett has suddenly realized is innocent.

Still recovering from a heart transplant, a retired FBI profiler returns to service when his own blood analysis offers clues to the identity of a serial killer.

Dirty Harry Callahan returns again, this time saddled with a rookie female partner. Together, they must stop a terrorist group consisting of angry Vietnam veterans.

The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.

The story of matinee idol Tab Hunter from teenage stable boy to closeted Hollywood star of the 1950s.

"Dirty" Harry Callahan is a San Francisco Police Inspector on the trail of a group of rogue cops who have taken justice into their own hands. When shady characters are murdered one after another in grisly fashion, only Dirty Harry can stop them.

Slowed by age and failing eyesight, crack baseball scout Gus Lobel takes his grown daughter along as he checks out the final prospect of his career. Along the way, the two renew their bond, and she catches the eye of a young player-turned-scout.

After avenging his family's brutal murder, Wales is pursued by a pack of soldiers. He prefers to travel alone, but ragtag outcasts are drawn to him - and Wales can't bring himself to leave them unprotected.

A mysterious preacher protects a humble prospector village from a greedy mining company trying to encroach on their land.