A Streetcar Named Desire is the film adaptation from the play by Tennessee Williams and directed by Elia Kazan. The film tells the drama story of the conflict between run down southern states and the exemplary industrial states in the north. Disturbed Blanche DuBois moves in with her sister in New Orleans and is tormented by her brutish brother-in-law while her reality crumbles around her.
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At a crisis center in late 1971, a freshly minted counselor on the late shift takes his first call: a suicidal teenager whose parents won’t let her come home for Christmas. The call exposes truths about each that lead to a surprising conclusion.
Sean Haggerty only has an hour to deliver his illegal cargo. An hour to reassure a drug cartel, a hitman, and the DEA that nothing is wrong. An hour to make sure his wife survives. And he must do it all from the cockpit of his Cessna.
Taking his inspiration from the biggest scandal in Japan’s police history, Kazuya Shiraishi has created a massive and sinister crime epic about the grand forces of corruption that brings to mind the best of Kinji Fukasaku’s yakuza movies (Cops vs. Thugs among others). Starting in 1970s Hokkaido like a nervous Japanese Starsky & Hutch–chan, the film charts the moral descent of Detective Moroboshi (Go Ayano) over three decades. Green in years but already hard‐grained and ready to play rough, the young cop quickly gets a bit too cozy with the other side of the law when his senior colleague Murai (Pierre Taki) teaches him the ropes and ruts of the police business. Soon, he swaggers and rants through the streets of Sapporo a lean, mean, sex‐crazy bully, indistinguishable from a yakuza. Burning with the same blaze as the hard‐boiled classics of yore, Twisted Justice scorches away the sleekness and macho self‐congratulation of the genre.