A renowned artist looks back with loving memories on the summer of his defining year, 1974, when he befriended an elderly, alcoholic yet genius painter who has turned his back not only on art, but on life.
As a student he wants to learn all the secrets the master has locked away inside his head and heart. But time has not been kind to the old master and his life and work have lost their meaning. Over the course of the summer the students enthusiasm and innocence rekindles the masters artistic passion -a tenuous relationship forms between student and master. Together, they give one another a priceless gift. The student learns to see the world through the eyes of an artist, while the master remembers how to see past the ugliness in life and once again embrace the beauty.

Martin Scorsese explores the life of organized crime with his gritty, kinetic adaptation of Nicolas Pileggi’s best-selling Wiseguy, the true-life account of mobster and FBI informant Henry Hill. Set to a true-to-period rock soundtrack, the story details the rise and fall of Hill, a half-Irish, half-Sicilian New York kid who grows up idolizing the “wise guys” in his impoverished Brooklyn neighborhood. He begins hanging around the mobsters, running errands and doing odd jobs until he gains the notice of local chieftain Paulie Cicero (Paul Sorvino), who takes him in as a surrogate son. As he reaches his teens, Hill (Ray Liotta) is inducted into the world of petty crime, where he distinguishes himself as a “stand-up guy” by choosing jail time over ratting on his accomplices. From that moment on, he is a part of the family. Along with his psychotic partner Tommy (Joe Pesci), he rises through the ranks to become Paulie’s lieutenant; however, he quickly learns that, like his mentor Jimmy (Robert DeNiro), his ethnicity prevents him from ever becoming a “made guy,” an actual member of the crime family. Soon he finds himself the target of both the feds and the mobsters, who feel that he has become a threat to their security with his reckless dealings.

The story of George Jung, the man who established the American cocaine market in the 1970′s.

IDENTITY, directed by James Mangold, is a thriller set at an isolated motel in rural Nevada during an unrelenting rainstorm. With all roads washed out and all forms of communication dead, a group of people become stranded at the motel along with the shifty manager (John Hawkes). Among the stranded are Ed (John Cusack), a former cop turned limo driver; Caroline (Rebecca De Mornay), a self-absorbed actress; Paris (Amanda Peet), a prostitute attempting to escape her profession; Rhodes (Ray Liotta), a cop transporting a prisoner (Jake Busey); Lou (William Lee Scott) and Ginny (Clea DuVall), bickering newlyweds; and George (John McGinley) and Alice (Leila Kenzle), a married couple travelling with their young son. Soon the waterlogged lodgers start dying in mysterious–and brutal–ways, and the increasingly dwindling number of survivors must discover the killer to prevent their own demises.
Riveting from the opening sequence, Mangold’s suspenseful murder mystery wastes no time in turning on the tension. Realising that truly scary cinema comes from the unknown and the unexpected, Mangold and screenwriter Michael Cooney keep the audience–and the film’s characters–in the dark and continually create situations that go from bad to worse for the luckless travellers. Cusack anchors the film as the resigned but noble former policeman, while Peet reveals a depth previously unseen in her other movies. Actors such as Liotta, McGinley, Hawkes, and De Mornay round out the fine ensemble cast. As with many thrillers, IDENTITY has a big twist, but because of the filmmakers’ excellent slight of hand, it’s unlikely viewers will predict the outcome.