Alex Rocco

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Alex Rocco, Actor Best Known For Playing Moe Green In ‘The Godfather’, Dies Aged 79

Alex Rocco Leonard Nimoy

Actor Alex Rocco has died at the age of 79. Rocco’s daughter, Jennifer, announced the news of his passing on Saturday (18th July). His cause of death and other details surrounding his passing have yet to be released by his family. 

Alex Rocco aka Alessandro Federico Petricone, Jr. passed away just hours ago on July 18, 2015. February 29, 1936 - July 18, 2015 RIP Dad, be with Mom and Marc....I will see you but not for a while....

Posted by Jennifer Rocco on Saturday, 18 July 2015

Continue reading: Alex Rocco, Actor Best Known For Playing Moe Green In ‘The Godfather’, Dies Aged 79

The Friends of Eddie Coyle Review

Throughout Peter Yates' masterful The Friends of Eddie Coyle, crooks, thieves and the occasional police officer use terms of complacent endearment -- friend, nice guy, good man -- but the words never seem to carry any meaning. All of them tend to agree that Eddie Coyle (Robert Mitchum), a career criminal at 51, is a nice guy, but that doesn't mean they aren't willing to put him in the dirt if it makes their lives easier. Coyle can't really blame them for it; he knows the way of the world.

As its title points out, Friends has a very marginal interest in Eddie himself. In his first scene, Coyle goes about telling a gun dealer (Steven Keats) about how some associates of other associates slammed his fingers after a deal went sour. A low-level hood since God-knows-when, Eddie speaks about the situation congenially before telling the dealer that he needs 30 guns. Coyle has been supplying guns to a pack of bank robbers, the head of which is played by Alex Rocco. The money he's making is to support his wife and kids before he reports for a two-year stint in a New Hampshire prison; he doesn't feel his family should be scraping by on welfare.

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Jam Review

I have to give director Craig Serling some credit. Setting Jam where it is -- on a narrow road blocked by a car wreck and a downed power line -- takes balls. Ensemble dramas like this are legion, but suggesting that people will just hang out for 90 minutes (our time, anyway) and re-evaluate their lives while they wait for the cops to clear the way is either genius or insane.

As with many ensemble flicks, Jam has some good stories and some bad, some good actors and some poor ones. There's a couple dealing with overwork and considering whether to have a baby, a woman on the way to her wedding, and a lesbian couple, one of whom is nine months pregnant. One vehicle is stolen, and at least one angst-ridden teen can be found in the mix. In fact, everyone is pretty angry... though no one seems to overly mind being stuck on the road for hours on end.

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Find Me Guilty Review


There's a serious losing streak as far as "true stories" in cinema are going. It's an open invitation to drizzle overdone sentimentality and turn crass tear-jerking into box office gold (see Glory Road or North Country?). That being said, that kind of stuff is spun gold in the face of the haphazard bile that is being thrown at the audience in Sidney Lumet's latest film, Find Me Guilty.

The film opens with Tony Campagna (Raul Esparza) making a panicked phone call to an unnamed person. He immediately goes from there to the home of his cousin, "Fat Jack" DiNorscio, a lone shark and cocaine dealer, and shoots him five times. For reasons unknown, DiNorscio survives, but refuses to rat on Tony. To him, ratting on family and friends is worse than death, and he tells his daughter that as she sits next to his hospital bed. Soon enough, Jack is in jail and part of a massive trial with most of the New Jersey crime family. In court, Jack befriends a lawyer (Peter Dinklage) but refuses his council, deciding to represent himself instead, against the wishes of mob boss Nick Calabrese (Alex Rocco). DiNorscio makes terrible jokes, but like all naïve if not honest men, he's endearing in a certain way, especially to Judge Finestein (Ron Silver). His charming and quirky attitude in court is hard to stand but seems to work on the jury, as they go in the room to deliberate on what would become the longest court case in U.S. history.

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The Wedding Planner Review

Ah, welcome to San Francisco, the place I call home. It's a city of exorbitant housing costs where we're facing two years of electricity blackouts, and it's home to some of the most ridiculously magical romances ever conceived. (See also: The Bachelor.)

In what is either a sassy updating of the fable of marriage or a vicious lambasting of its sanctity, depending on your point of view, The Wedding Planner presents us with Jennifer Lopez and Matthew McConaughey as an unlikely pair who somehow manage to get together -- against all odds, of course.

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Goodbye Lover Review

Patricia Arquette plays a Sound of Music-obsessed, Martha Stewart wannabe, psychotic killer in this slightly clever but ultimately not-clever-enough comedy/film noir. While Arquette is delish, the story ultimately lacks much compelling material that isn't lifted from Double Indemnity or one of its contemporaries. Okay for a Sunday night, but hardly great filmmaking, especially from Roland Joffé, who's done better.

The Wedding Planner Review


Jennifer Lopez must have an iron stomach to have been able to read even the first five pages "The Wedding Planner" script without losing her lunch.

After a Vaseline-lensed prologue flashback showing a little girl playing wedding with Ken and Barbie, the first scene of this saccharinely half-witted, cutesy-poo, allegedly romantic alleged comedy finds a Miss Lonelyhearts wedding coordinator (Lopez) calmly delivering a client's nuptials from the jaws of chaos.

With a counterfeit Tinkerbell twinkle in her eye and a fairy dust spring in her step, she reassures a nervous bride with an insincere go-get-'em speech, produces a clothespin to save a bridesmaid from a cleavage crisis and sobers up the father of the bride, all the while dictating this and that detail to subordinates through an ear-piece walkie-talkie.

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The Country Bears Review


Motivated solely by corporate greed, Disney has recently begun cranking out low-ambition, high-profit margin throwaway pictures as bad as any of the odious junkers (e.g. "The Computer Wore Tennis Shoes") that the studio released in the 1960s and '70s.

If it's not soulless, uncalled for sequels ("Return to Never Land," "Cinderella 2"), it's hackneyed kiddie-angst comedies ("The Princess Diaries," "Max Keeble's Big Move") with no greater purpose than the mindless, robotic recycling of familiar themes to sell soundtracks and videos through relentless self-promotion on ABC TV and Radio Disney.

But this trend may have hit a new low with the release of "The Country Bears," in which writer Mark Perez and director Peter Hastings take an outdated, Chuck E. Cheese-quality Disneyland attraction called the Country Bear Jamboree and turn it into a trite, cliché-packed embarrassment of a feature film.

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Dudley Do-Right Review


The essence of Jay Ward's delightfully dolt-driven cartoons like "Rocky and Bullwinkle," "George of the Jungle" and "Dudley Do-Right" was always a resourceful, goofball mix of silliness, self-cognizance and good, dumb laughs -- a combination that might seem difficult to duplicate outside the medium of deliberately dorky animation.

But two years ago, the balance was mimicked surprisingly well in the live-action "George of the Jungle," with a perfectly cast, pratfall-proficient Brendan Fraser in the title role. But that balance is conspicuously absent as Fraser tries to fill the clumsy shoes of another Jay Ward character -- his vapid but lovable, lantern-jawed Canadian Mountie -- in the almost completely giggle-free "Dudley Do-Right."

Not only does the dilly dorkiness turn to idiocy, which in turn runs rings around the infrequent laughs, but just about the only engaging moment in the entire movie isn't even a sight gag or a goof. It's a completely serious stunt.

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