It's been over 50 years since NYPD detectives Sonny Grosso and Eddie Egan, along with Federal law enforcement, made the biggest drug bust in U.S. history, nabbing 60 kilos of pure heroin worth $32 million that had arrived from Marseille.
The film had a storyline that can only be described as salacious and lurid. The narrative naturally beguiled my 16-year-old closeted self, and added to my own internet cruising for doses of gay culture before regularly deleting the browsing history.
"There's no real reason I ever should have become a film director. I never studied film, unlike the movie brats of my generation I never went to film school, or even to college. I was never that enamored of film."
Grosso says Jack's visit sent Rao's influential clientele into a tizzy but what was so heart-warming was that Nicholson himself had presented the Best Picture Oscar to The French Connection's producer Phil D'Antoni back at the 44th Academy Awards.
Tonight on PBS, I sit down with award-winning director, producer and screenwriter William Friedkin. Can you believe it's been 40 years since the screams in The Exorcist? Friedkin reflects on the making of the film and the genre in Hollywood that followed.
As bizarre and seemingly out-of-nowhere as it is for Franco to make a film exploring William Friedkin's controversial 1980 film Cruising, his calling on Mathews to assist in such an endeavor seemed somehow symbiotic.
It is a dark and stormy night. Rain pelts the pitch black trailer park. A leashed pit bull barks as the stranger approaches. He beats on the trailer door. The woman who opens the door is naked... full frontal. It's his step-mother.
In a summer of movies made of bombastic special effects and obvious action, Killer Joe still has the ability to surprise by keeping it down and dirty -- though you'll need a strong stomach to make it to the end.