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Very early in his career, the Finnish auteur Aki Kaurismäki established an aesthetic for his films in colour that has held for decades now: the characters are blue-collar people struggling to get by, and whatever emotions they feel, their lines of hatred, love, hope, or disappointment are communicated in an utterly deadpan, monotone fashion. The scenery is usually drab industrial buildings and rusting dockyards. Kaurismäki's 1990 film I HIRED A CONTRACT KILLER moves that formula, developed in his native Helsinki, to London. This is not the posh London of the royal family, bankers or socialites. Kaurismäki managed to find completely dilapidated locations that I would have never imagined to exist in London of that time (though no doubt they've long since been gentrified beyond recognition at this point). Henri Boulanger (Jean-Pierre Léaud), a timid Frenchman living in London with no apparent friends or surviving family, has worked for fifteen years for a state utility. When he is made redundant in a bit of Thatcher-era privatization, he feels he has nothing more to live for. He attempts suicide twice, both tries ending in morbidly humorous failure, and he lacks the courage to try any further. He decides to enter the East End criminal underworld and to hire a paid assassin to kill him. The mob boss takes Henri's money and tells him it will be done through a subcontractor. But when Henri meets the lovely Margaret (Margi Clarke) and starts coming out of his shell, he suddenly has second thoughts. Unable to call off the job, he and Margaret try to evade the hitman (Kenneth Colley), already on Boulanger's trail. Kaurismäki's films are, to a large extent, dark comedies, and there are some laughs here. I also appreciated the element of homage to Kaurismäki's forebears and peers here. Colley's sad hitman and the way the shots frame him was surely drawn from the crime capers that Jean-Pierre Melville shot in his last years. Kaurismäki's perennial love for drab scenery had been boosted by his newly established friendship with Jim Jarmusch, a director who presented America at this time as so many vacant lots and abandoned buildings. Still, I wouldn't consider this among Kaurismäki's best work. One of the things that makes Kaurismäki's main, Finnish-language output so hilarious is that the characters speak in literary Finnish (nearly a different language than colloquial Finnish). When the dialogue is in English and with a mix of UK accents, the formula is not quite as effective. Jean-Pierre Léaud's English is almost incomprehensible -- the actor has been a titan of French film since the New Wave of Truffaut and Godard, but he's not proficient enough in English to do English-language cinema. Kaurismäki no doubt wanted intended the character to sound that way, but it feels off for this viewer. I'd recommend this film only to those who have enjoyed a series of Kaurismäki's stronger films of the era like the so-called "Proletariat Trilogy"
During the Nazi occupation of Poland, an acting troupe becomes embroiled in a Polish soldier's efforts to track down a German spy.
Arvid is an ordinary bank clerk who lives a rather unassuming life with his dear girlfriend. But his life is turned completely upside down when he bravely manages to avert a robbery against the bank where he works.
Oliver Twist the modern filmed version of Charles Dickens bestseller, a Roman Polanski adaptation. The classic Dickens tale, where an orphan meets a pickpocket on the streets of London. From there, he joins a household of boys who are trained to steal for their master.
Alex is a disgruntled waiter at a snobby exclusive restaurant who falls on hard times. Forced to deal with the contempt and disgust of the upper class, Alex & cohorts attempt to go on a rampage. Meanwhile, General Karprov and Spider plot to involve the inept anarchists into their plans to derail the prime-minister-to-be's campaign.
Calvin and Hanna's relationship comes under threat when their Brazilian holiday resort turns out to be an experimental therapy centre.
A situation brings two couples at loggerheads with each other in London.
The imminent death of a matriarch forces her whole family to reunite. From her dying confession, other hidden episodes will come to light. Each of the family members will face what they would prefer remained buried. Nobody is free of killing for love.
The story begins with tired eyed freak rocker Danny Feedback facing upheaval: His life’s work, including priceless family heirloom instruments, like his one of a kind transparent luminescent guitar, have disappeared via an overnight heist. Unlike a typical breaking and entering, this crime is fueled by a personal vendetta which is evident by the ransacked music studio, and shrapnel from a couple destroyed artifacts that were obviously left behind to “send a message”.
A delusional young woman mourning the loss of her cat receives a visit from an unexpected visitor.
"The Stranger," an outcast who works in a saloon frequented by Peggy Bowlin, a poor girl suffering through hard times. She finds romance with Larry Darrant and her life begins to improve. They make plans to wed and leave England, but when a convict assaults Peggy, Larry gets involved and accidentally kills him. The Stranger is arrested for the murder, but he refuses to declare his innocence because he doesn't want to destroy Peggy's happiness.
Having taken the blame for an accident beyond his control, pilot Mike Hogan has been on administrative leave indefinitely; however when the airline is desperately short of staff, he is offered to be first officer and accepts, without enthusiasm, received with disdain by the well-connected commander. Surprisingly his come-back proves less then routine, as the captain gets knocked out and a collision as well as a murderer being transported by police require courageous action from Mike, his crew and several passengers, including soccer star Ty Conner.