Seven Thieves (1960) Henry Hathaway, Edward G. Robinson, Rod Steiger, Joan Collins, Crime, Drama

Seven Thieves (1960)
In Monte Carlo, Theo Wilkins recruits his young protégé Paul Mason – just released from prison – to help him rob the famous casino of $4 million. The plan is straightforward. On the night of the Governor’s Ball, Theo will create a distraction in the casino by having one of the team collapse requiring urgent medical attention. During that time Paul and another member of the crew will get the money from the vault. When the ambulance arrives, the money will leave with the sick man. The plan is a good one but not everyone will survive the robbery and no one will get rich from it.
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Beginning of the End (1957) Bert I. Gordon, Peter Graves, Peggie Castle, Morris Ankrum, Sci-Fi

Beginning of the End (Bert I. Gordon, 1957)
An attractive reporter investigating the mysterious destruction of an Illinois town stumbles upon a secret government laboratory conducting radiation experiments on vegetables. The lead scientist is eager to help find out what happened. Together they discover that giant grasshoppers are behind the devastation. Worse yet, thousands of them are headed toward Chicago! Can they be stopped… or is this the BEGINNING OF THE END?
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Cien / Shadow (1956) Jerzy Kawalerowicz, Zygmunt Kestowicz, Adolf Chronicki, Emil Karewicz, Action, Drama

Cien (Jerzy Kawalerowicz, 1956)
The plot consists of a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during World War II, one in the immediate aftermath of the war and one in contemporary Poland. In each, the victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics of the day attacked the film for its depiction of a world rife with secret agents and hidden enemies – a favorite Stalinist theme – yet the film seems rather to insist on how heroism or villainy are so often matters of point of view and timing.
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