Brothers Till We Die (Italian: La banda del gobbo) is an Italian poliziottesco-action film directed in 1978 by Umberto Lenzi. This film is the last collaboration among Lenzi and Tomas Milian. In this movie Milian plays two characters, Vincenzo Marazzi aka "The Hunchback" that he already played for Lenzi in Rome Armed to the Teeth, and his twin brother Sergio Marazzi aka "Er Monnezza", a role that he played for the first time in Lenzi's Free Hand for a Tough Cop and later resumed in Destruction Force by Stelvio Massi. . You can read more in Google, Youtube, Wiki
La banda del gobbo
Vincenzo 'hunchback' plans a robbery on a armored police van with his gang. Once the job is done, his gang try to kill him and absconds with the loot. Vincenzo hides in the sewers before ...
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La banda del gobbo torrent reviews
Ashik S (br) wrote: truly inspiring movie.
SarahJane S (fr) wrote: This is a must see if u havent.
Eric B (fr) wrote: It's a strange coincidence that I saw "The Diving Bell and the Butterfly" just three days ago, because I didn't realize it and "Johnny Got His Gun" share the same experimental scenario: the subjective perceptions of a radically disabled man, daydreaming of happier times while struggling to communicate with his caretakers. The main difference is that "Johnny"'s Joe Bonham (Timothy Bottoms, dominating the screen in his debut film role) is presumed to be in a non-thinking, vegetative state, while "Diving Bell"'s Jean-Do was always known to be cognizant.Maimed soldier Joe lies in a hospital bed, tucked away in a linen closet to save space. His face is half blown away and tactfully covered, and his arms and legs have been amputated. Blind and unable to speak, he has a limited interface with the world, and whatever trivial movements he makes are viewed as involuntary spasms. His identity is unknown to his doctors, and he is kept alive only as a medical curiosity.He tries to make sense of the situation while recalling past events from his life, mostly focused on his gentle father (Jason Robards) and the girl he left behind. The hospital scenes are in black and white, while the flashbacks are in color. The color material also includes a few tepid fantasies involving Donald Sutherland as an unlikely, low-key Jesus Christ."Johnny Got His Gun" was the only film directed by Oscar-winning screenwriter Dalton Trumbo, best known today for being infamously blacklisted during the McCarthy era. "Johnny" was adapted from his own 1939 novel (other Trumbo credits include "Thirty Seconds over Tokyo," "Papillon," "Roman Holiday," "Spartacus" and "Exodus"). And yet surprisingly, his screenplay is more problematic than his direction: Joe's interior monologue is far too wordy and overelaborated to be realistic. There's always a sense of him adding extra detail for the audience's benefit. And Bottoms' performance is not so sharp, and this just doubles the text's clumsiness.Watch for David Soul ("Starsky and Hutch") and Tony Geary ("General Hospital") in small roles, early in their careers.
Daniel H (ag) wrote: The Grapes of Wrath meets Xenophon's Persian Expedition, with healthy amounts of Cold-War propaganda mixed in, and diluted down into a campy 1950's morality tale about what it means to be civilized.You have your characteristic no-good greasers, a young woman in need of rescuing, a nagging and worrysome housewife, and a father who knows best. When their afternoon fishing trip is interrupted by a small-scale nuclear war which drives the populace into barbarism and cruelty, they begin resorting to equally brutal tactics to defend themselves.While tension and fear are prime motivators, the actual expression of that tension is lacking. The films script and acting admirably give life to a truly catastrophic event, but the surroundings never seem as threatening as everyone lets on: the only truly despicable characters are a recurring band of outrageously villainous teenage hoodlums, and a few price-gouging storeclerks.In the end, it is the family themselves who interact with the world in panicked and barbaric ways... and this is where the film shines.A promising film that ends up being dragged down by silly 1950's value judgments and stereotypes, and a poorly budgeted and fleshed-out setting.
Rick L (mx) wrote: A good character piece that transcends the genre as we observe a small group of people preparing for "the bomb" (and I don't mean a football pass).
Stephen H (nl) wrote: More of a historical exercise, in that it is the original epic. The spectacle is impressive given their constraints, but it was only mildly entertaining.
Grayson W (us) wrote: Didn't think id like it, but kept wondering what would happen next
Greg H (gb) wrote: I appreciate the attempt at an old timey Peter Sellars type farce but. Misses the mark consistently and falls with a thud into the dreaded "comedies that aren't funny" vertical file.
Cory B (jp) wrote: shit, the others were great but this is just horrible
Masorad (kr) wrote: Other than the Art Clokey title sequence, this has to rank as one of the most disposable of the AIP bikini-themed reels.