#gangland thriller

[clairekreads]

Janey by Alex Kane @alexkanewriter @herabooks #publicationday #bookreview #janey

🥂🥂🥂 HAPPY PUBLICATION DAY TO ALEX KANE 🥂🥂🥂 Janey is out today!! Continue reading Untitled

[justforbooks]

Best crime and thrillers of 2023

Given this year’s headlines, it’s unsurprising that our appetite for cosy crime continues unabated, with the latest title in Richard Osman’s Thursday Murder Club series, The Last Devil to Die (Viking), topping the bestseller lists. Janice Hallett’s novels The Mysterious Case of the Alperton Angels, which also features a group of amateur crime-solvers, and The Christmas Appeal (both Viper) have proved phenomenally popular, too.

Hallett’s books, which are constructed as dossiers – transcripts, emails, WhatsApp messages and the like – are part of a growing trend of experimentation with form, ranging from Cara Hunter’s intricate Murder in the Family (HarperCollins), which is structured around the making of a cold case documentary, to Gareth Rubin’s tête-bêche The Turnglass (Simon & Schuster). Books that hark back to the golden age of crime, such as Tom Mead’s splendidly tricksy locked-room mystery Death and the Conjuror (Head of Zeus), are also on the rise. The late Christopher Fowler, author of the wonderful Bryant & May detective series, who often lamented the sacrifice of inventiveness and fun on the altar of realism, would surely have approved. Word Monkey (Doubleday), published posthumously, is his funny and moving memoir of a life spent writing popular fiction.

Notable debuts include Callum McSorley’s Glaswegian gangland thriller Squeaky Clean��(Pushkin Vertigo); Jo Callaghan’s In the Blink of an Eye (Simon & Schuster), a police procedural with an AI detective; Scorched Grace by Margot Douaihy (Pushkin Vertigo), featuring queer punk nun investigator Sister Holiday; and the caustically funny Thirty Days of Darkness (Orenda) by Jenny Lund Madsen (translated from the Danish by Megan E Turney).

There have been welcome additions to series, including a third book, Case Sensitive (Zaffre), for AK Turner’s forensic investigator Cassie Raven, and a second, The Wheel of Doll (Pushkin Vertigo), for Jonathan Ames’s LA private eye Happy Doll, who is shaping up to be the perfect hardboiled 21st-century hero.

Other must-reads for fans of American crime fiction include Ozark Dogs (Headline) by Eli Cranor, a powerful story of feuding Arkansas families; SA Cosby’s Virginia-set police procedural All the Sinners Bleed (Headline); Megan Abbott’s nightmarish Beware the Woman (Virago); and Rebecca Makkai’s foray into very dark academia, I Have Some Questions for You (Fleet). There are shades of James Ellroy in Jordan Harper’s Hollywood-set tour de force Everybody Knows (Faber), while Raymond Chandler’s hero Philip Marlowe gets a timely do-over from Scottish crime doyenne Denise Mina in The Second Murderer (Harvill Secker).

As Mick Herron observed in his Slow Horses origin novel, The Secret Hours (Baskerville), there’s a long list of spy novelists who have been pegged as the heir to John le Carré. Herron must be in pole position for principal legatee, but it’s been a good year for espionage generally: standout novels include Matthew Richardson’s The Scarlet Papers (Michael Joseph), John Lawton’s Moscow Exile (Grove Press) and Harriet Crawley’s The Translator (Bitter Lemon).

Historical crime has also been well served. Highlights include Emma Flint’s excellent Other Women (Picador), based on a real 1924 murder case; Laura Shepherd-Robinson’s story of a fortune teller’s quest for identity in Georgian high society, The Square of Sevens (Mantle); and SG MacLean’s tale of Restoration revenge and retribution, The Winter List (Quercus). There are echoes of Chester Himes in Viper’s Dream (No Exit) by Jake Lamar, which begins in 1930s Harlem, while Palace of Shadows (Mantle) by Ray Celestin, set in the late 19th century, takes the true story of American weapons heiress Sarah Winchester’s San Jose mansion and transports it to Yorkshire, with chillingly gothic results.

The latest novel in Vaseem Khan’s postcolonial India series, Death of a Lesser God (Hodder), is also well worth the read, as are Deepti Kapoor’s present-day organised crime saga Age of Vice (Fleet) and Parini Shroff’s darkly antic feminist revenge drama The Bandit Queens (Atlantic).

While psychological thrillers are thinner on the ground than in previous years, the quality remains high, with Liz Nugent’s complex and heartbreaking tale of abuse, Strange Sally Diamond (Penguin Sandycove), and Sarah Hilary’s disturbing portrait of a family in freefall, Black Thorn (Macmillan), being two of the best.

Penguin Modern Classics has revived its crime series, complete with iconic green livery, with works by Georges Simenon, Dorothy B Hughes and Ross MacDonald. There have been reissues by other publishers, too – forgotten gems including Celia Fremlin’s 1959 holiday‑from-hell novel, Uncle Paul (Faber), and Richard Wright’s The Man Who Lived Underground (Vintage). Finished in 1942 but only now published in its entirety, the latter is an account of an innocent man who takes refuge from racist police officers in the sewers of Chicago – part allegorical, part brutally realistic and, unfortunately, wholly topical.

Daily inspiration. Discover more photos at Just for Books…?

[filmnoirfoundation]

NOIR CITY bonus screenings have been added!

Monday 1/30: TOO LATE FOR TEARS (5:00, 8:30) and WOMAN ON THE RUN (7:00) Wednesday 2/1: WOMAN ON THE RUN (5:30, 8:45) and TOO LATE FOR TEARS (7:00) Admission will be at regular Grand Lake Theater prices: Gen Adm $13; Child/Senior $9.50; Matinee $7.50 NOIR CITY passports will be honored for all screenings. TOO LATE FOR TEARS (1949)

For many years, all 35mm prints of "Too Late for Tears" (1949) were believed lost, but through the determined efforts of the Film Noir Foundation, enough original material has been discovered to enable a restoration, performed under the auspices of the UCLA Film & Television Archive. Based on a novel by future television titan Roy Huggins, and featuring Huggins' own brilliant screenplay, the film is a neglected masterpiece of noir, awaiting rediscovery. A suburban housewife (Lizabeth Scott) decides to keep a satchel of money accidentally tossed into her convertible, against the wishes of her husband (Arthur Kennedy). Dan Duryea plays the intended recipient of the cash and he’s not into sharing. The result? Mayhem and murder. Dir. Byron Haskin WOMAN ON THE RUN (1950)

A lost gem rediscovered! Thanks to the efforts of the Film Noir Foundation, this terrific 1950 film noir, the only American print of which was burned in a 2008 fire, has been rescued and restored to its original luster. Join the wild chase around San Francisco as a man goes into hiding after witnessing a gangland execution. Police bird-dog his wife Eleanor (Ann Sheridan), certain she’ll lead them to her husband, whose testimony against the killer could bring down a crime kingpin. But Eleanor and her hubbie are Splitsville—she never wants to see him again. When roguish newspaperman Danny Leggett (Dennis O’Keefe) charms Eleanor into helping him track down the hidden husband—there are unexpected, stunning and poignant results. This nervy, shot-on-location thriller is a witty and wise look at the travails of romance and marriage, and perhaps the best cinematic depiction ever of mid-20th century San Francisco. Dir. Norman Foster

[savage-kult-of-gorthaur]

IT'S GOOD FRIDAY TODAY -- BUT "THE LONG GOOD FRIDAY" IS WHERE IT'S REALLY AT.

PIC(S) INFO: Spotlight on out-of-print DVD box art to the classic British gangster/crime film "The Long Good Friday" (completed 1979, released theatrically in 1980), directed by John Mackenzie with a screenplay by Barrie Keefe. The film was released on Criterion DVD as Spine #26 in 1998.

MINI-OVERVIEW: "Bob Hoskins, in his breakthrough film role, stars as a London racketeer fast losing control of his gangland empire; Helen Mirren shines as his classy moll. John Mackenzie’s stylish thriller is a marriage of gangster flicks from both sides of the Atlantic."

-- CRITERION COLLECTION, c. 1998

Cinematography: Phil Meheux

Editing: Mike Taylor

Associate producer: Chris Griffin

Art director: Vic Symonds

Music: Francis Monkman

Sources: www.criterion.com/films/559-the-long-good-friday, Janis Films, The Quietus, Criterion Forum, The Criterion Contraption, various, etc...

[ljones41]

"EASTERN PROMISES" (2007) Review

"EASTERN PROMISES" (2007) Review Many years ago, I had seen for the first time, the crime thriller directed by David Cronenberg called,”A HISTORY OF VIOLENCE”. Viggo Mortensen had starred in the movie, portraying a happily married café owner, whose Good Samaritan actions against two thugs led to his disclosure as a former mob enforcer. Both Cronenberg and Mortensen reunited two years later to collaborate on another crime thriller called, "EASTERN PROMISES".

Based upon a screenplay written by Steve Knight, ”EASTERN PROMISES” began with a gangland murder and the death of a 14 year-old Russian-born prostitute after giving birth to an infant girl. The two incidents would resonate over the lives of a London hospital midwife of Russian descent named Anna Khitrova (Naomi Watts), a Russian mob boss and restaurant owner named Semyon (Armin Mueller-Stahl), his wastrel son Krill (Vincent Cassel), and the mob boss’ enigmatic chauffeur, Nikolai Luzhin (Mortensen). The plot is a little too complex for me to explain in this review. Needless to say that it centered around the mob boss’ attempt to recover the dead prostitute’s diary, which found itself in the hands of the hospital midwife. I would suggest that one find a way to see the movie. It will not disappoint. I know I found it very interesting. Yes, it has violence, but not as much that was found in ”A HISTORY OF VIOLENCE”. But the amount of blood shown in the film – especially in the gangland slaying and the prostitute’s death – seemed to like a metaphor of the story’s theme . . . and the connection between the major characters. On the surface, ”EASTERN PROMISES” seemed like a typical crime thriller centered around a Russian crime family in London. But the plot – like three of the major characters – turned out to be something quite different than what appears to be on the surface. What seemed like a gang war, turned out to be a lurid family secret that brings down the Russian mobster. As I had earlier pointed out, this theme is also apparent in three of the four major characters: *Krill – who seemed like a crude and murderous monster on the surface, who proves to be more benign *Semyon – a talented cook and mob boss, whose grandfatherly demeanor hides a darker and more ruthless personality *Nikolai – the enigmatic chauffeur, whose practical and cynical nature makes him unsuited to merely be the family’s driver. As in the case of Semyon and Krill, he turns out to be someone very different. And it is through the eyes of the London midwife, Anna that the audience becomes acquainted with the exotic (at least for American and British eyes) world of Russian émigrés mingled with the violence and degeneracy of the Vory v Zakone (Russian Mafia). Thanks to Cronenberg’s direction, the world of the Vory v Zakone seemed so exotic and something never seen before. In fact, it seemed so insular that the usual British atmosphere of London almost seemed miles away, despite the presence of Scotland Yard. One sequence that came to mind is the hand-to-hand fight between Nikolai and two Chechen assassins seeking revenge for the gangland murder featured in the movie’s opening scene. The sight of a nude Mortensen viciously defending his life against two burly assassins inside a London bathhouse is one that I will never forget. And I suspect that it will become an unforgettable scene in the minds of moviegoers for years to come. I was also impressed by the performances in the movie. Despite having the least interesting character, Watts managed – with her usual competency – to infuse pathos and spirit into the London midwife. And Mueller-Stahl did an excellent job of portraying a brutal and ruthless man who manages to hide these traits under a veneer of warmth and civility. But I feel that Cassel deserves an Oscar nod for his portrayal of the pathetic Krill, who tries to hide his weaknesses (or what he conceives as weakness) with a crude and extroverted persona. Finally, there is Viggo Mortensen, whose portrayal of the enigmatic Nikolai might finally allow the critics to truly appreciate his skills as an actor. Instead of using words or openly expressed emotions, Mortensen manages to reveal his character to the audience through subtle words (in a Russian accent that surprisingly works), body language, costume and especially in his eyes. What makes Mortensen so remarkable as a film actor is that he has no need for big speeches (which he had attempted in ”LORD OF THE RINGS: RETURN OF THE KING”) or outbursts of emotions to convey to express his characters’ personalities. This certainly seemed true in the scene in which Nikolai has sex with one of the prostitutes, in the whorehouse owned by Krill’s father. Nikolai does not simply have sex with the woman. He IS FORCED to do so . . . on the orders of Krill, who wants Nikolai to prove that he is not a homosexual. The audience was well aware that the prostitute felt violated and exploited. But Mortensen managed to convey through his eyes, Nikolai's feelings of violation, exploitation . . . and disgust at Krill’s desire to watch him have sex with the prostitute. Good performances by Mortensen, Cassel and the actress who portrayed the prostitute. What else can I say about "EASTERN PROMISES"? I do not regard it as one of the best movies from 2007. But I feel that it is a fascinating and emotionally complex story that seems different from the usual crime thriller. Unlike "A HISTORY OF VIOLENCE", it is not capped by a violence sequence that gives us the last word on the protagonist’s fate. Yet, all the same, I found it very tense and emotional.

[thequillsink]

Sailor Suit & Machine Gun (1981) Film Review - Carry On My Wayward Gun

Published by grimoireofhorror and The Yurei on December 7, 2021

To say that Shinji Sômai is one of the greats of cinema is an understatement. He is quoted as describing his directing philosophy as “humanity observing humanity,” his approach was vastly different from that seen in Japan at the time. As such, his films all have an unyielding  realism to their story and characters, strongly affixed on the growth and progression of both. Although Shinji Sômai only directed thirteen films in his twenty years behind the camera, each one regarded as a definitive piece of cinematic art, one of his most acclaimed productions being Sailor Suit & Machine Gun.

What is it?

Sailor Suit & Machine Gun is a 1981 Japanese yakuza film directed by the incredible Shinji Sômai. It is an adaptation of the novel of the same name written by prolific novelist Jirō Akagawa.

“Hoshi Izumi is a young innocent forced to grow up quickly when her father dies and she finds herself next in line as the boss of a Moribund yakuza clan. Wrenched from the security of her classroom and thrust into the heart of the criminal underworld, she must come to terms with the fact that her actions hold the key to the life or death of the men under her command as they come under fire from rival gangs.”

What worked?

A one of a kind piece of art, on the surface this film resembles a standard yakuza or idol film. However, it is more like a coming of age teen drama, lacking both the favourable violence of yakuza genre and self-absorbed camerawork of idol films. It places a strong emphasis on a compelling story and a visually delectable range in cinematography. The story was progressive for 1980s Japan, having very little dispute in the gang itself about a woman becoming their Oyabun, treating her with full respect. Although, the same cannot be said for the other families.

The cast is a real who’s who of Japanese cinema, including Tsunehiko Watase (The Incident 1978), Rentarô Mikuni (Harakiri 1968) and Akira Emoto (Dr Akagi 1998) to name a few. At the forefront of the film is the incredible acting by pop idol Hiroko Yakushimaru, her performance throughout brings the film together. The development of Izumi from a naive school girl to a capable young woman strengthens the chaotic world she finds herself thrust into and the resilience of her character. Though she witnesses the harsh reality of being a yakuza boss first-hand, Izumi still maintains her child-like sentiments, a testament to stay true to herself.

The film features an amazing soundtrack, the main theme sung by Hiroko Yakushimaru herself. The song was a huge hit in Japan, being released two months prior to the film and ascending to the number one spot where it resided for five straight weeks, and being the second highest ranked song of 1982. Accompanying this illustrious score is impeccably expressive and technical cinematography, focusing on a beautiful mix of static, wide angle shots as well as complete mastery of the long take aesthetic. Impeccably choreographed slow pan camerawork throughout long intense scenes elevate this film to its deserved cult status.

What didn’t work

Those who are expecting an adrenaline-fuelled action adventure may be disappointed. As previously mentioned, the film is a coming of age teen drama with a fish out of water environment rather than a gangland thriller. Consequently, the production carries a strong focus away from the stereotypical yakuza action film, leaving the final product somewhat confusing for those who are unaware of its intentions. That notwithstanding, the action does start to increase towards the films’ conclusion, though it takes a slower and more realistic approach rather than go out guns blazing. Personally, this is far from a complaint about the film and is one of its strengths, although those expecting a more thrilling production may not agree.

Where can I find it?

Though the works of Shinji Sômai are relatively unseen in the western market, that is all about to change with Arrow Video’s release of this cult classic available here. Released Nov 15, this incredible Blu-ray publication includes:

High Definition Blu-ray (1080p) presentations of the Original Theatrical Version and the 1982 Complete Version (kanpeki-ban) re-issue of the film, restored by Kadokawa Pictures from a 4K scan of the original negative Original uncompressed Japanese mono and 5.1 audio Optional English subtitles Girls, Guns and Gangsters: Shinji Sômai & Sailor Suit & Machine Gun, an exclusive new 50-minute documentary featuring actor Akira Emoto, film scholar Chika Kinoshita, Sômai biographer Tatsuya Kimura and Sailor Suit assistant director Koji Enomoto discussing the making of the film, its director and its legacy. Original Trailers and TV spots for both versions Image Gallery Reversible sleeve featuring original and newly commissioned artwork by Michael Lomon

Final Thoughts

With its unique story, adroit cinematography and powerful yet hands off approach to directing by Shinji Sômai, this film is a personal favourite of mine. Breaking down the barriers of genre to create a distinct piece of cinematic history, it is unfortunate that it has taken so long for this cult classic to get a release in the West. It remains as visually striking as when released over four decades ago. This production is the perfect introduction to the renowned but small filmography of Shinji Sômai and his particular style of film making. I can only hope that more of his work gets the same treatment as Sailor Suit & Machine Gun.

[halflingkima]

first chapter test electric boogaloo here we go (does this give any project hints)

Marlena by Julie Buntin: Two suburban teen girls spend a year together, one testing out a life off the rails and the other following through on her already established destructive habits to their bitter end.

Oh shit. That was intense. I mean, I expect it to be an intense book but that really set the tone quite well. It feels like a horror, but in like. a real-life horror way – one of those storylines where a teen girl completely ruins her life (for Reasons) and all we can do is watch helplessly with the narrator, usually her best friend. But this one adds a dash of spice into that sorta drama/contemporary genre with the flavor of a thriller. I love it.

⭐️⭐️⭐️⭐️⭐️

How to Set a Fire and Why by Jesse Ball: A teen with a rough life who gets bounced from school to school finds out her new school has an arson club.

Oh this reads very much like a first-hand diary of a teen. I usually really enjoy direct narration from teens in heavier novels, but I more prefer them to sound like a teen’s narration rather than their writing. This sounds like a teen put pen to paper, and I’m finding it grating. I also saw a lot of Holden Caulfield references/criticisms when looking through reviews and that vibe hits hard and fast. Think I might have to pass on this one ://

⭐️⭐️

Two Across by Jeff Bartsch: Two teens meet at a spelling bee, and rebel against their parents by getting married for the cash & gifts – but the girl was in love with the boy for reals and he only realized once she’d left and now they communicate through crossword clues (idk man, I’m tryin).

the first chapter was just the spelling bee where they meet and it was simultaneously dry, quirky, and strangely riveting. i had hoped it would move a little faster than it seems to, but it still seems like a nice lighthearted read, if that’s what i need.

⭐️⭐️⭐️

City of Bohane by Kevin Barry: a dystopia set in 2050 west ireland where a seedy gangland has sprung up. plot? who knows.

utterly incomprehensible. i could just be very tired. but that entire chapter went completely over my head. i don’t know who’s narrating or who i just met or how many or what their names are. i think an audiobook would help because it feels very much like a sum of its parts problem so letting the story wash over me could work but. i ain’t got the audio. and aside from the irish in the dialect, there’s nothing interesting me here in the slightest.

⭐️

[twittercomfrnklin2001-blog]

Assault on Precinct 13

What do you get if you mash up RIO BRAVO (1959) and NIGHT OF THE LIVING DEAD (1968)? If you’re lucky you get John Carpenter’s ASSAULT ON PRECINCT 13 (1976, Criterion Channel no more, Peacock, Prime, Tubi, Plex), a taut action thriller that grabs you from the first percussive notes of Carpenter’s score (he also wrote the script and did the terrific editing) and doesn’t let go until the end, and that despite some uneven performances (that many critics didn’t seem to notice) and a questionable treatment of race.

It's the last night at Precinct Nine (the error in the title came from the original distributor, who thought “13” sounded more ominous) in Los Angeles’ worst neighborhood. New lieutenant Austin Stoker is only supposed to be babysitting until the crew shows up to shut it down officially the next morning, but before long he’s forced to take in a trio of convicts when one gets dangerously sick during transport to death row. Then an older man (Martin West) in shock bursts in. He can’t tell why he’s there, but we’ve seen him retaliate against the gangland killing of his daughter by shooting the gunman. Now the area’s deadliest gang is attacking the precinct, forcing Stoker to work with the convicts when all the other officers are killed.

Carpenter has written a crackerjack script with good dialog, a lot of it inspired by Howard Hawks’ films. The main convict (Darwin Joston) keeps asking for a cigarette at the unlikeliest times, a running gag right out of Hawks’ Westerns. There’s also a tough secretary who can hold her own with a gun and a quip. Unfortunately, the actress, Laurie Zimmer, is inexpressive in the wrong ways. She can’t hold a candle to such Hawks women as Angie Dickinson or Lauren Bacall. At that, she’s better than Carpenter regular Nancy Loomis as another secretary so shrill and hysterical you don’t expect her to last long. Fortunately, Stoker and Joston are both quite good at capturing one of Hawks’ most reliable tropes, the two men brought together by proficiency in the face of danger. Carpenter has Joston flirting with Zimmer but the real heat is between the two men.

Early on, a radio report on the gang, Street Thunder, points out that they’re the rare group with members from all races. That’s supported by the casting of Frank Doubleday, who has great presence, as the group’s White Warlord (that’s how he’s billed). Once he’s killed, however, it’s hard to miss that all of the gang members we see assaulting Precinct Nine are people of color. Carpenter treats them like the zombies in NIGHT OF THE LIVING DEAD. They’re the faceless other, only they do have faces, and unfortunately, they’re all black and brown.

[ausetkmt]

Pill City: How Two Honor Roll Students Foiled the Feds and Built a Drug Empire

Pill City: How Two Honor Roll Students Foiled the Feds and Built a Drug Empire

In this crime-plagued section of the city, the death of Freddie Gray has triggered the worst domestic rioting since the assassination of Martin Luther King Jr. and created a terrifying new breed of criminal entrepreneur.

Here, as looters and arsonists lay waste to already blighted parts of Baltimore, two of the city's brightest students are helping to carry out a historic drug robbery spree - one that will flood the city with highly addictive pain pills and heroin. The teens' plan: to use their gang connections and computer programming skills to set up a high-tech drug delivery service and Dark Web marketplace. The result: the boys became America's youngest drug lords, in the process sparking bloody gang warfare and a nationwide wave of addiction and murder. Now mixing in deadly circles, Brick and Wax soon found their own lives were on the line.

In this groundbreaking work of investigative journalism, Newsday criminal justice reporter Kevin Deutsch chronicles the rise of these gangland upstarts as they help steal $100 million worth of high-powered opiates and build a national narcotics empire from scratch.

As gripping and compulsive as a thriller, Pill City takes listeners into the heat of the action as Brick and Wax outwit the FBI and DEA, as gang members like Damage and Lyric live and die by their own brutal code, as the cops battle to stop the carnage, and as a high school coach risks a bullet to get addicts into rehab. A gritty, hard-hitting story of gangland survival, Pill City will open the world's eyes to the plague of drug-related killings rocking America and reveal the deadly cost of the Baltimore riots.

[movienation]

Classic Film Review: John Woo, just before He Became an Icon -- "Heroes Shed No Tears" (1984)

The movie that sealed John Woo‘s reputation, and the genre with which he’d be most comfortable in the years to come, was 1986’s “A Better Tomorrow,” a gangland shoot-em-up that featured his longtime muse, tall, cool action icon Chow Yun-Fat. But sitting on the shelf when that instant classic came out was a gonzo Vietnam War B-movie masquerading as a drug war thriller. “Heroes Shed No Tears” was…

[clairekreads]

Snow Going Back by Emma Tallon @emmaesj @bookouture #booksontour #bookreview #snowgoingback

Happy Friday everyone! I’m ashamed to say it but today, I am sharing my first ever Emma Tallon review. Yes you heard me right, Emma Tallon. I can see all of you looking at the cover above and trying reconcile this information but yes, Emma Tallon, gangland thriller writer has written a rom-com… My thanks to Noelle Holten for inviting me to join the #booksontour and to Bookouture for my advanced…

[moviesandmania]

THE WAGES OF FEAR (2024) Netflix action thriller - preview with trailer

The Wages of Fear is a 2024 action thriller film about a team that has to drive two trucks of nitroglycerine across a desert to prevent a deadly explosion. Directed and co-produced by Julien Leclercq (Ganglands series; Sentinelle; Earth & Blood; The Bouncer; The Crew; Gibraltar; The Assault; Chrysalis) from a screenplay co-written with Hamid Hlioua. It is a remake of the classic 1950s French…

[geethr75]

Review of Tasmanian Gothic

Blurb A modern gothic thriller set in a decaying urban environment and lush mutant wilderness.Solari wasn’t alive when the ozone layer split like a gutted fish above Tasmania and spilled radiation over the edge of the stratosphere, but she’s living with the consequences—the mutations, the gangland war, and the border wall that divides the affluent North from the contaminated South. Orphaned and…

[kiggundu]

*{Tv-Show}* Ganglands S01-S02 2021-2023 Action Crime Drama Thriller 7.1/10 IMDb.com {3,362 Users} 6.2/10 Filmaffinity.com Synopsis... Mehdi, a qualified robber, and Liana, an apprentice thief, get involved in a turf war between drug dealers, and have to collaborate in order to save their loved ones. (at Kampala, Uganda, East Africa) https://www.instagram.com/p/CpKK-R2LXOL/?igshid=NGJjMDIxMWI=

[tvrundownusa]

tvrundown USA 2023.02.17

Friday, February 17th:

(exclusive): Josh Johnson: "Up Here Killing Myself" (Peacock, comedy special), Poor Devil (HMax, Spanish animated comedy, all 8 eps), Animaniacs (hulu, season 3 available, all 10 eps, series finale), Secret Royal Inspector & Joy (hulu, Korean romantic dramedy, all 16 eps), Community Squad (netflix, Argentina police comedy, all 8 eps), Ganglands (netflix, French thriller, season 2 available, all 6 eps), A Girl and an Astronaut (netflix, Polish sci-fi mystery, all 6 eps), Make or Break (apple+, pro surfing docuseries season 2A, first 4 eps)

(movies): "Sharper" (apple+, neo-noir thriller feature), "Unlocked" (netflix, Korean thriller, ~2hrs), "Armageddon Time" (Peacock, coming-of-age feature, ~2hrs), "j-hope IN THE BOX" (dsn+, documentary with member of BTS)

(streaming weekly): Carnival Row (amazon, season 2 opener, first 2 eps), Harlem (amazon, next 2 eps), Dear Edward (apple+), Truth Be Told (apple+), Shrinking (apple+), Servant (apple+), Hello Tomorrow! (apple+, half-hour dramedy premiere, first 3 eps), Play-Doh Squished (freevee)

(also new): Bunk'd: Learning the Ropes (disney, 60mins), The Greatest #AtHome Videos (CBS, special), "You Can't Escape Me" (Lifetime original movie, 2hrs+)

(hour 1): BMF (Starz), Lopez vs. Lopez (NBC) /   / Young Rock (NBC), Shark Tank (ABC), RuPaul's Drag Race (MTV), "The 12th Victim" (SHO, docuseries premiere, part 1 of 4)

(hour 2): Whose Line Is It Anyway? (theCW, season 11 resumes), "2023 NBA Rising Stars" (TNT sports special, ~2hrs)

(hour 3): RuPaul's Untucked (MTV), Real Time with Bill Maher (HBO)

(hour 4 - latenight):   Game Theory with Bomani Jones (HBO)

[repeats, resuming next week: S.W.A.T. (CBS, preempted), Fire Country (CBS), Blue Bloods (CBS) ] [repeats for the next few weeks: Penn & Teller: Fool Us (theCW) ]