Casino Cercle Gaillon de Paris - Tous les détails y

Best run in terms of anything
William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt.
Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys.
John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light.
Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire.
Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case.
Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty.
George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me.
John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive.
Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express.
Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses.
Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross.
Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine.
Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing,The Small Back Room, and An Airman's Letter to His Mother.
Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor.
John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll.
Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair.
Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door.
Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement.
Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe.
Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead.
David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends.
Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming.
Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By.
Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway.
Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon.
Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine.
Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation.
King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest.
Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul.
Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses.
Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico.
Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth.
Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer.
Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France.
Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama.
Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman.
Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James.
Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night.
Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night.
Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson.
Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo.
Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question.
Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall.
Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat.
Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night.
Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne.
Luis Buñuel: Gran Casino and The Great Madcap.
Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard.
Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi.
Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French.
René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga.
Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax.
Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night.
Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island.
William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters.
Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again.
Luchino Visconti: Ossessione and La Terra Trema.
Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young.
Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies.
Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day.
John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song.
Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce.
Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men.
Dorothy Arzner: Dance, Girl, Dance and First Comes Courage.
George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.
Howard Hawks, John Ford, and Orson Welles are my Top Three.

Best run in terms of anything
William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt.
Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys.
John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light.
Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire.
Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case.
Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty.
George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me.
John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive.
Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express.
Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses.
Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross.
Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine.
Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing, The Small Back Room,and An Airman's Letter to His Mother.
Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor.
John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll.
Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair.
Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door.
Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement.
Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe.
Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead. David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends.
Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming.
Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By. Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway.
Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon.
Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine.
Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation.
King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest.
Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul.
Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses.
Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico.
Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth.
Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer.
Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France.
Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama.
Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman.
Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James.
Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night.
Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night.
Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson.
Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo.
Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question.
Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall.
Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat.
Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night.
Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne.
Luis Buñuel: Gran Casino and The Great Madcap.
Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard.
Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi.
Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French.
René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga.
Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax.
Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night.
Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island.
William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters.
Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again.
Luchino Visconti: Ossessione and La Terra Trema.
Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young.
Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies.
Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day.
John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song.
Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce.
Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men.
Dorothy Arzner: Dance, Girl, Dance and First Comes Courage.
George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.

Best run in terms of anything
William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt.
Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys.
John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light.
Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire.
Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case.
Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty.
George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me.
John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, We Sail at Midnight, Sex Hygiene, 3 Godfathers, My Darling Clementine, Torpedo Squadron,December 7th: The Movie,They Were Expendable, Fort Apache, The Battle of Midway, She Wore a Yellow Ribbon, and The Fugitive.
Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express.
Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses.
Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross.
Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine.
Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing,The Small Back Room,and An Airman's Letter to His Mother.
Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor.
John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll.
Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair.
Nicholas Ray: They Live by Night, A Woman's Secret, and Knock on Any Door.
Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement.
Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe.
Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead.
David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends.
Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming.
Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By.
Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway.
Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon.
Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine.
Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation.
King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest.
Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul.
Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses.
Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico.
Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth.
Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer.
Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France.
Charlie Chaplin: The Great Dictator, and Monsieur Verdoux.
George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama.
Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman.
Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James.
Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night.
Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night.
Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson.
Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo.
Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question.
Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall.
Maya Daren: At Land, Meshes of the Afternoon, A Study for Choreography for Camera, Ritual in Transfigured Time, and Meditation on Violence.
Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat.
Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night.
Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne.
Luis Buñuel: Gran Casino and The Great Madcap.
Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard.
Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi.
Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French.
René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga.
Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax.
Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night.
Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island.
William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters.
Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again.
Luchino Visconti: Ossessione and La Terra Trema.
Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young.
Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies.
Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day.
John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song.
Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce.
Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men.
Dorothy Arzner: Dance, Girl, Dance and First Comes Courage.
George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.

Best run in terms of anything
William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt.
Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear,The Stranger, Black Magic, and Follow the Boys.
John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light.
Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire.
Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case.
Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty.
George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me.
John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive.
Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express.
Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses.
Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross.
Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine.
Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing, The Small Back Room, and An Airman's Letter to His Mother.
Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor.
John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll.
Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair.
Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door.
Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement.
Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe.
Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead.
David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends.
Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming.
Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By.
Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway.
Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon.
Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine.
Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation.
King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest.
Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul.
Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses.
Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico.
Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth.
Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer.
Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France.
Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama.
Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman.
Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James.
Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night.
Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night.
Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson.
Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo.
Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question.
Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall.
Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat.
Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night.
Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne.
Luis Buñuel: Gran Casino and The Great Madcap.
Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard.
Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi.
Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French.
René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga.
Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax.
Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night.
Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island.
William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters.
Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again.
Luchino Visconti: Ossessione and La Terra Trema.
Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young.
Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies.
Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day.
John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song.
Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce.
Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men.
Dorothy Arzner: Dance, Girl, Dance and First Comes Courage.
George Sidney: Pilot No. 5, Holiday in Mexico, Ziegfeld Follies, Thousands Cheer, Anchors Aweigh, The Harvey Girls, Bathing Beauty, The Three Musketeers, Cass Timberlane, and The Red Danube.

THE CASE OF OMAR RADAD The Omar Raddad Affair was a highly publicised criminal trial in Mougins, France in 1991. After the murder of Ghislaine Marchal, Marchal's gardener Omar Raddad was arrested. Defended at his trial by Jacques Vergès, Raddad was convicted 1994, and sentenced to 18 years in prison. Raddad always maintained his innocence. Raddad received a partial pardon from French President Jacques Chirac in 1996 at the request of Moroccan King Hassan II, which reduced his sentence to 4 years and 8 months, and was released from prison in 1998.
The misspelled sentence "Omar m'a tuer" ("Omar killed me"), found written in blood at the crime scene, became a widely used phrase in French society during the 1990s. The last word of the sentence is not properly conjugated; it should read: "Omar m'a tuée". Skeptics contended that this is an odd mistake for a native French speaker to make. The mistake is understandable, however, since both tuer and tuée are pronounced [ty.e]. The case was the subject of the 2011 film Omar m'a tuer by Roschdy Zem.
Description of the events
The facts
Born Ghislaine de Renty, Ghislaine Marchal was the daughter of an industrialist who was engaged in the Resistance during the Second World War and died in deportation. Divorced from her first husband, with whom she had a son, in 1991 she was the wealthy widow of Jean-Pierre Marchal, owner of a famous company that supplied equipment for automobiles[1] , and sister-in-law of the president of the Paris Bar Council Bernard de Bigault du Granrut. She split her time between her main house in Switzerland and her villa La Chamade, which she had built in the hills of Mougins[citation needed].
Ghislaine Marchal disappeared
On Sunday 23 June 1991, around 11:48am, Ghislaine Marchal, having just got out of the shower, is chatting on the phone with her friend Erika S. She has planned for her friend to come to La Chamade for lunch on monday morning. Ghislaine Marchal tells her she is in a hurry as she needs to get ready to have lunch at her friends' Mr and Mrs K.'s house at 1pm. They end their conversation at 11:50. This will be the last time that her voice was heard by those close to her[citation needed].
Surprised that she hadn't arrived, her friends called her in vain several times from 13:30 onwards. Around 6, Colette K. drove to La Chamade. She rang the doorbell but nobody answered, nor did they to another phone call she made that evening.[citation needed]
On Monday 24 June, Erika S. arrived at 11:30, as planned. She rang, rang again, called, all in vain. Alerted by Mrs Erika S. and Mrs Colette K., a third friend, Francine P., sent an employee of the security company to the house in the early afternoon. The house, dark and silent, shows no trace of a break in, the blinds had only been drawn in the bedroom; on the unmade bed were glasses, a diary; the breakfast tray is in the kitchen. The keys are in the door, which remains unlocked, the alarm is not activated. It seemed as though Ghislaine Marchal had just woken up, but she wasn't there.[citation needed] Throughout the afternoon, the searching begins; the security company employee returns with Francine P. and her attendant. They are quickly joined by Ghislaine Marchal's doctor. They find jewelry, an open hand bag, which doesn't contain any cash, but no trace of the owner.[citation needed]
The cellar door is blocked from inside
Finally, on 24 June 1991 in the evening, the police are alerted and arrive at the house. After searching the house, they become interested in an annexe to the main house. A flight of stairs descends to the cellar, which had not been visited as of yet, and of which the metal door is locked. After unlocking it, the door would still not open any more than 2 cm. One officer pushed with all his might as another feeds his arm through the gap and identifies a folding bed placed against the door on the inside. He manages to violently push it backwards: the door opens a little bit more, but a metal tube, placed on the ground perpendicularly to the door, firmly blocks it on its hinges. The door was warped and twisted by the officer's pushing, enabling him to get a leg through the gap and ''kicking the tube several times''. The final kicks shifts the tube, enabling him to open the door.[citation needed] In January 1992, investigators note that '' the pressure on the door made the tube move, leaving a semi circular imprint on the cement floor''.[citation needed]
Discovery of the body
At the back of the cellar, Ghislaine Marchal is lying face down, her legs pointing to the bag wall, her arms stretched out in front of her on the ground, dressed in only a blood stained bath robe pulled up to above her waist.[citation needed]
The doctor's first observations on the evening of the 24th, and the autopsy of 28 June[citation needed] revealed severe injuries: 5 violent blows to the head, carried out with a rafter, ''to kill and not to knock her out''[citation needed] which caused open cuts on her head and cerebral edema, a V shaped cut on her throat, which missed the trachea and the big arteries of the neck; ten cuts on her thorax and on the abdomen, caused by a ''double edged tapered blade'' measuring 15 to 20cm long, and maximum of 2cm wide, which provoked an eventration and three cuts into the liver; two into her left thigh, one of which produced a thin stream of blood perpendicular to the axle of the leg; the victim thus lay on the floor immobile after having received this injury, for at least long enough for the blood to coagulate, approximately 7 minutes. Injuries and fractures of the hands, a phalange almost ripped off, suggest that she looked to protect herself by bringing her hands to her face, several scrapes on her arms and legs, in particular on the soles of her feed and the back of her knees, as well as traces of dust and cement on her robe suggest that the victim had been dragged on the ground.
Forensic experts note that it had not been possible to determine the order in which the blows were delivered. None of them were immediately fatal, but were after approximately 15 to 30 minutes of agony. Captain Georges Cenci notes that the assassin seemed 'determined, but also clumsy in his movements'.
doctor Jean Pagliuzza, forensic doctor, who had been consulted by the defense lawyers accepted to give his advice to journalist Eve Livet after the gardener was sentenced. He thinks that the murder could have happened in a rapid sequence of only 3 to four minutes. In this type of attack, the first blows have the intention of neutralising the victim by stunning her. After this, the blows carried out with a white weapon follow, very quickly. 'Taking into account the force of the blows, her aggressor was a man [...] he was left handed'. He indicates that the lowest injury was the first to be made. 'The blade hit higher and higher the more the victim collapsed'. The V shaped injury on her neck 'is often found in this type of murder' because of the lateral movement of the head, looking to escape the blows to the neck. The expert specifies that the attacker must certainly have received blood on him. Given the way the blood flowed following this, he estimates that the victim never got up; she died 'rapidly from bleeding'. If she had stood up, the haemorrhage of the liver would have filled the abdominal cavity, something which was not observed by forensic scientists.
Discovery of the inscriptions 'Omar killed me'
The cellar's metal door opens onto a hallway. On the left 'Omar m'a tueé' is written in blood, in well formed letters, one meter above ground level, on a locked white door leading to the wine cellar. A bloody trace is visible under the inscription. In front of the metal door, at the back of the main room, the sentence is partially written again on the door of the boiler room: 'Omar m'a t'. This 'second inscription' as the investigators called it, lower than the first, is barely legible. It is situated on the boiler room's side of the door, but because the door is blocked open, it is facing the entrance of the room and not the boiler room, where the body is.
Who wrote the messages?
If Mrs. Marchal is the author of the message, it points to Omar Raddad. On the other hand, if the message is from the killer, it can not come from Omar Raddad, whom one would not expect to incriminate himself. The killer would therefore have to have arranged the scene so Ghislaine Marchal would be assumed to have authored this false accusation of her gardener.
The wording of the message may seem strange at first: would someone write that they were killed when they were still alive? Judge Renard finds the sentence "weird" [25].
As for the grammatical error, would a cultured woman like Ghislaine Marchal have made this mistake? Several documents indicate that sometimes made errors in her writing, specifically confusing the the past participle with the infinitive [26], [27], for example, she wrote “pay” on a bill already settled, or “I have to water the flowers” (instead of “I have watered the flowers”?). However, this point is strongly contested by the defense and by journalists [28], [29], [30].
Captain Cenci, Coutton J. and the public prosecutor Farret believe that the mistake is a strike against the accused [31]. But according to the graphologist Françoise De Ricci, this kind of common mistake cannot be used to identify the writer (see below) [32].
Are the messages in Ghislaine Marchal’s handwriting?
The first forensic examination of the writings was carried out by Gilles Giessner in July-August, at the request of the investigating judge. He compared the letters on the doors with those of the crosswords from the victim and various other documents. The expert indicates that the letters of the two doors are all from the same person, and that for the first message, this person was kneeling, while she was lying for the second message. The destructured side (messy side?) suggests to him a physiological weakening. The writer “could not have moved to write the end of the second message, as that is where the body was found,” Giessner said, apparently ignoring the fact that the body was not found in front of that door.
During the trial, G. Giessner specified that he "highlighted the total concordance of the letters with those of the writings of Mrs. Marchal". Then, pressed by the defense, he conceded: "It is two-thirds surely the writing of the victim, a third not" [35]
At the request of the defense, a second opinion was given to Ms. Buisson-Debar. It confirms the conclusions of his colleague [10] [36], but not without some contradictions. The second report states that out of ten letters in the first inscription, only five resembled the writing of the victim [37].
In 1999, a new writing expert was brought on by Mr. Gauthier and Ms. Dumont. Presented by the defense in support of a request to review the conviction, this expert concluded that the writing was not that of the victim. [38] The the appeals board (revision board?) then asked Françoise De Ricci and Anne Bisotti for further expertise. They stated that "writings" made in such dissimilar conditions can not be "reasonably compared" [24].
Françoise Bouzon-Thiam, author of a book on the case, observes that the bloody letters have abnormally short downstrokes as though they were interrupted (could also be “hanging” or “suspended) while the letters in Ghislaine Marchal’s crosswords have elongated downstrokes. The contrast is especially clear for the M, A and R. She believes that the letters in the messages reveal them to have been written by the killer.
Who blocked the metal door and how?
Captain Georges Cenci says that the metal door to the cellar is "the only way to access it, and to forbid access" [40]. Given this, and with the victim being the only person present at the scene, she is the only person who could have barricaded herself there. The defense never seems to have contested the first point, only trying to show that the murderer could have gone out through the metal access door while still causing a blockage
As previously mentioned, there was a metal pipe at the base of the door which blocked it from opening. However, the pipe was very thin and there was a gap between the bottom of the door and the ground. The pipe could pass easily under the door, if it was lying flat. How, under these circumstances, could someone use it to stop the door?
In February 1992, during an on-site visit by investigators, magistrates and lawyers, the investigation concludes that Ms. Marchal placed the metal tube on top of a wooden beam which had the effect of lifting it from the floor on the end that was against the door, which prevented the door from opening.
Defense lawyers contested this and argued that the police did not notice this beam on June 24 [43]. They also claimed to have demonstrated that it was possible to press the folding bed against the open door so that when you exit and close it slowly, the bed is drops to block the door from opening. The iron bar could have fallen when the police pushed the bed back [44].
Ève Livet says that the gap under the door is reduced near the hinge because the floor is not level. If the metal bar was near this hinge, its thickness would have been sufficient to block the door, as indicated by movement tracks on the ground. She also thinks that the bed could have momentarily jammed on a large PVC pipe located across the hallway
Detective Roger-Marc Moreau says he has found a way to easily block the door from the outside under the same conditions Captain Cenci believes that it is impossible because of a raised area under the door and that Mr. Moreau never came to see it in person
More:
The defense’s theory of the crime:
The defense argues that the the violence and the large number of blows show "an almost passionate relentlessness, the expression of an lukewarm (warmed-over?) hatred (the phrase appears to literally mean “reheated” and usually refers to food) which doesn’t fit with personality of Omar Raddad and his good relationship with his employer (see below). Mr. Vergès also points to the fact that no sign of any scratches were found on Omar's hands, nor any blood on his clothes. Since Captain Cenci admits that the crime was not premeditated, Omar would not have had any gloves or extra clothes with him. How could he have avoiding staining his clothes with blood? (see below) [63]?
Additionally, the gravity of the wounds Ghislaine Marchal suffered makes all the physical actions attributed to her unlikely (writing the “right burst” without supporting herself in any way, moving multiple times, blocking the door).
Mr. Vergès also noted that the body of the victim was not found in front of the second inscription. At trial, Me Leclerc, lawyer for the prosecution, said she "pushed herself to write these last words with a dying hand” which suggests that she had written the message in her last breath, just before dying [64]. But she was actually discovered 1.50 m behind this door. The defense also argued that the splayed position of her limbs and her bathrobe being bunched up on the top of her body suggest that she was dragged to that position by her feet.
Another revealing detail for the defense: a clear trail of blood running down the victims inner thigh, perpendicular to the ground and the line of the leg. It would have taken 7 minutes for this blood to coagulate, so if the victim had stood up to do all that was said, that blood would have flowed in another direction, or would have been smeared by the movement of her thighs. The victim therefore could not have moved after her attacker left. [66]. That wound, like a dagger's blow, could have been done to make sure the victim was no longer reacting. "A procedure (move?) known to all hunters" [67]. In addition, the bathrobe was not pierced by this strike, so the injury was inflicted while the garment was already pushed up Marchal’s body [68].
Finally, the thesis of the hedge trimmer, or a kitchen knife as murder weapon does not fit with the description of a tapered double-edged blade, 2 cm wide [69]. Besides, would the gardener have been stupid enough to put away the key to the cellar with the gardening tools, as if to incriminate himself?
Defenders of Omar Raddad presented several scenarios for this crime, with deep divergences between them. [71]
At first, the defense lawyers, Mr. Girard and Mr. Baudoux, admitted that the writing was indeed that of Madame Marchal, who would have written under duress even torture. This is the "diabolical scenario" [71]. However, the experts say that the injuries of the victim are not due to torture, and this argument was rejected by all parties [72].
A new defense lawyer, Mr. Guidicelli, does not believe in the "diabolical scenario"; he does not dispute the report of the first graphologists, but thinks that Madame Marchal was mistaken about the identity of her attacker [73]. This hypothesis was also considered by the investigators (see below). This “friction” between the defense lawyers led Mr. Guidicelli to withdraw from the case [10] [74]
Then Master Vergès took over the case. He formally challenged the conclusions of the graphologists, and believed it was the killer who wrote the message "with his gloved hand", dragged the body of his victim into the boiler room, and likewise wrote the second message with the intention of making it appear that Ghislaine Marchal had written both. This is the “staging theory", which would be presented at the trial [75]. Faced with the impossibility of getting his three lawyers to agree, Omar Raddad"reluctantly" separated from Girard and Baudoux 10 days before the start of the trial [76].
Variation of the staging theory: the murderer(s) could have carried or dragged the unconscious to the doors to make her write the inscriptions by dipping her finger in own blood and guiding her hand. Her head hanging down pressed against the “first door,” leaving the blood stain that appeared below the message. The murderer would have believed that the investigators could identify the fingerprints, which was not possible because the marks were “slid" (possibly “smeared”?). Under this theory, it would be the killer’s writing, because when one guides the hand of someone else to make them write something, it is the handwriting of the one who controls the hand which appears [77] .
Detective Roger-Marc Moreau and the expert in writing Danièle Dumont developed the theory that the incomplete inscription was first drawn by holding the hand of the victim’s corpse. This was no sufficiently legible, so the killers would have written the second inscription themselves, more clearly and in large letters.
Regarding the staging hypothesis, the prosecution raised a question: Who knew that Omar Raddad was going to be near the crime scene that day? The gardener never worked on Sundays as this particular day was also a Muslim religious holiday day [78], he would be assumed to have stayed at home with his family. It is highly unlikely that anyone would have expected him to be at Francine P.’s house that day. Captain Cenci believed that the only two people who knew he was there were Francine P. and Omar Raddad himself [79]. Unless the inscriptions are referring to another Omar.
Some Additional Important Facts : ·Omar Can't Write Or Read , He Can Read Only His Name.
·There Was A Housekeeper That Was Jealous Of The Good Relation Between Omar & Ghiselaine.
·Omar Love To Go & Play In Casino , And There Were Rumors That He Paid Prostitutes For Sex & But Was Later Clear Off.
· There Was Rumor That Omar Was In Need Of Money , And Will Often Ask For His Salary Before The Due Date.
·Omar Radad Would Go On Hunger Strike For Months Often When He Was Imprisoned But Was Force To Break As He Didn't Want To Die , He Just Wanted To Be Prove Innocent And Be Free.
·Omar Radad Wrote A Book About Being The Murder Which Name Is "Pourquoi Moi ?" (Why Me ?)
·A Book Was Written By The Officer (Capitaine Georges Cenci) Who Was In Charge Of The Case Which Name Is : Omar L'a Tueé (Omar Killed Her) & It's Free. (But It's In French Link : http://omarlatuee.free.findex.php?post/2014/02/Lire-gratuitement-Omar-l-a-Tu%C3%A9e-%21
· The Entire Judicial Chronology Of The Case Of Omar Radad : (Can Be Translate In English Don't Worry)
http://omarlatuee.free.findex.php?post/2011/06/Toute-la-chronologie-judiciaire-de-l-affaire-Omar-Raddad
Source : https://en.m.wikipedia.org/wiki/Omar_Raddad_Affair
Photo Of "Omar M'a Tuer" : https://images.app.goo.gl/s5C9QwtoLPxdskxL8
Photo of Scrambled : https://images.app.goo.gl/K5ATy32pGH9Pzek7A
Photo Of Ghiselaine Marchal : https://images.app.goo.gl/fP4Deug8AHx6ojL59
Ghiselaine Marchal's Body On Crime Scene : https://images.app.goo.gl/66np23hPBBKu4aPAA
Crime Scene : https://images.app.goo.gl/3uKTD4k8LgdtS4pY9
Crime Scene : https://images.app.goo.gl/9iF4fJFFnUZ2RCJ18
What's Your Thoughts About The Case ? Do You Think Omar Radad Is Guiltly ?

THE CASE OF OMAR RADAD The Omar Raddad Affair was a highly publicised criminal trial in Mougins, France in 1991. After the murder of Ghislaine Marchal, Marchal's gardener Omar Raddad was arrested. Defended at his trial by Jacques Vergès, Raddad was convicted 1994, and sentenced to 18 years in prison. Raddad always maintained his innocence. Raddad received a partial pardon from French President Jacques Chirac in 1996 at the request of Moroccan King Hassan II, which reduced his sentence to 4 years and 8 months, and was released from prison in 1998.
The misspelled sentence "Omar m'a tueé" ("Omar killed me"), found written in blood at the crime scene, became a widely used phrase in French society during the 1990s. The last word of the sentence is not properly conjugated; it should read: "Omar m'a tuée". Skeptics contended that this is an odd mistake for a native French speaker to make. The mistake is understandable, however, since both tuer and tuée are pronounced [ty.e]. The case was the subject of the 2011 film Omar m'a tuer by Roschdy Zem.
Description of the events
The facts
Born Ghislaine de Renty, Ghislaine Marchal was the daughter of an industrialist who was engaged in the Resistance during the Second World War and died in deportation. Divorced from her first husband, with whom she had a son, in 1991 she was the wealthy widow of Jean-Pierre Marchal, owner of a famous company that supplied equipment for automobiles[1] , and sister-in-law of the president of the Paris Bar Council Bernard de Bigault du Granrut. She split her time between her main house in Switzerland and her villa La Chamade, which she had built in the hills of Mougins[citation needed].
Ghislaine Marchal disappeared
On Sunday 23 June 1991, around 11:48am, Ghislaine Marchal, having just got out of the shower, is chatting on the phone with her friend Erika S. She has planned for her friend to come to La Chamade for lunch on monday morning. Ghislaine Marchal tells her she is in a hurry as she needs to get ready to have lunch at her friends' Mr and Mrs K.'s house at 1pm. They end their conversation at 11:50. This will be the last time that her voice was heard by those close to her[citation needed].
Surprised that she hadn't arrived, her friends called her in vain several times from 13:30 onwards. Around 6, Colette K. drove to La Chamade. She rang the doorbell but nobody answered, nor did they to another phone call she made that evening.[citation needed]
On Monday 24 June, Erika S. arrived at 11:30, as planned. She rang, rang again, called, all in vain. Alerted by Mrs Erika S. and Mrs Colette K., a third friend, Francine P., sent an employee of the security company to the house in the early afternoon. The house, dark and silent, shows no trace of a break in, the blinds had only been drawn in the bedroom; on the unmade bed were glasses, a diary; the breakfast tray is in the kitchen. The keys are in the door, which remains unlocked, the alarm is not activated. It seemed as though Ghislaine Marchal had just woken up, but she wasn't there.[citation needed] Throughout the afternoon, the searching begins; the security company employee returns with Francine P. and her attendant. They are quickly joined by Ghislaine Marchal's doctor. They find jewelry, an open hand bag, which doesn't contain any cash, but no trace of the owner.[citation needed]
The cellar door is blocked from inside
Finally, on 24 June 1991 in the evening, the police are alerted and arrive at the house. After searching the house, they become interested in an annexe to the main house. A flight of stairs descends to the cellar, which had not been visited as of yet, and of which the metal door is locked. After unlocking it, the door would still not open any more than 2 cm. One officer pushed with all his might as another feeds his arm through the gap and identifies a folding bed placed against the door on the inside. He manages to violently push it backwards: the door opens a little bit more, but a metal tube, placed on the ground perpendicularly to the door, firmly blocks it on its hinges. The door was warped and twisted by the officer's pushing, enabling him to get a leg through the gap and ''kicking the tube several times''. The final kicks shifts the tube, enabling him to open the door.[citation needed] In January 1992, investigators note that '' the pressure on the door made the tube move, leaving a semi circular imprint on the cement floor''.[citation needed]
Discovery of the body
At the back of the cellar, Ghislaine Marchal is lying face down, her legs pointing to the bag wall, her arms stretched out in front of her on the ground, dressed in only a blood stained bath robe pulled up to above her waist.[citation needed]
The doctor's first observations on the evening of the 24th, and the autopsy of 28 June[citation needed] revealed severe injuries: 5 violent blows to the head, carried out with a rafter, ''to kill and not to knock her out''[citation needed] which caused open cuts on her head and cerebral edema, a V shaped cut on her throat, which missed the trachea and the big arteries of the neck; ten cuts on her thorax and on the abdomen, caused by a ''double edged tapered blade'' measuring 15 to 20cm long, and maximum of 2cm wide, which provoked an eventration and three cuts into the liver; two into her left thigh, one of which produced a thin stream of blood perpendicular to the axle of the leg; the victim thus lay on the floor immobile after having received this injury, for at least long enough for the blood to coagulate, approximately 7 minutes. Injuries and fractures of the hands, a phalange almost ripped off, suggest that she looked to protect herself by bringing her hands to her face, several scrapes on her arms and legs, in particular on the soles of her feed and the back of her knees, as well as traces of dust and cement on her robe suggest that the victim had been dragged on the ground.
Forensic experts note that it had not been possible to determine the order in which the blows were delivered. None of them were immediately fatal, but were after approximately 15 to 30 minutes of agony. Captain Georges Cenci notes that the assassin seemed 'determined, but also clumsy in his movements'.
doctor Jean Pagliuzza, forensic doctor, who had been consulted by the defense lawyers accepted to give his advice to journalist Eve Livet after the gardener was sentenced. He thinks that the murder could have happened in a rapid sequence of only 3 to four minutes. In this type of attack, the first blows have the intention of neutralising the victim by stunning her. After this, the blows carried out with a white weapon follow, very quickly. 'Taking into account the force of the blows, her aggressor was a man [...] he was left handed'. He indicates that the lowest injury was the first to be made. 'The blade hit higher and higher the more the victim collapsed'. The V shaped injury on her neck 'is often found in this type of murder' because of the lateral movement of the head, looking to escape the blows to the neck. The expert specifies that the attacker must certainly have received blood on him. Given the way the blood flowed following this, he estimates that the victim never got up; she died 'rapidly from bleeding'. If she had stood up, the haemorrhage of the liver would have filled the abdominal cavity, something which was not observed by forensic scientists.
Discovery of the inscriptions 'Omar killed me'
The cellar's metal door opens onto a hallway. On the left 'Omar m'a tueé' is written in blood, in well formed letters, one meter above ground level, on a locked white door leading to the wine cellar. A bloody trace is visible under the inscription. In front of the metal door, at the back of the main room, the sentence is partially written again on the door of the boiler room: 'Omar m'a t'. This 'second inscription' as the investigators called it, lower than the first, is barely legible. It is situated on the boiler room's side of the door, but because the door is blocked open, it is facing the entrance of the room and not the boiler room, where the body is.
Who wrote the messages?
If Mrs. Marchal is the author of the message, it points to Omar Raddad. On the other hand, if the message is from the killer, it can not come from Omar Raddad, whom one would not expect to incriminate himself. The killer would therefore have to have arranged the scene so Ghislaine Marchal would be assumed to have authored this false accusation of her gardener.
The wording of the message may seem strange at first: would someone write that they were killed when they were still alive? Judge Renard finds the sentence "weird" [25].
As for the grammatical error, would a cultured woman like Ghislaine Marchal have made this mistake? Several documents indicate that sometimes made errors in her writing, specifically confusing the the past participle with the infinitive [26], [27], for example, she wrote “pay” on a bill already settled, or “I have to water the flowers” (instead of “I have watered the flowers”?). However, this point is strongly contested by the defense and by journalists [28], [29], [30].
Captain Cenci, Coutton J. and the public prosecutor Farret believe that the mistake is a strike against the accused [31]. But according to the graphologist Françoise De Ricci, this kind of common mistake cannot be used to identify the writer (see below) [32].
Are the messages in Ghislaine Marchal’s handwriting?
The first forensic examination of the writings was carried out by Gilles Giessner in July-August, at the request of the investigating judge. He compared the letters on the doors with those of the crosswords from the victim and various other documents. The expert indicates that the letters of the two doors are all from the same person, and that for the first message, this person was kneeling, while she was lying for the second message. The destructured side (messy side?) suggests to him a physiological weakening. The writer “could not have moved to write the end of the second message, as that is where the body was found,” Giessner said, apparently ignoring the fact that the body was not found in front of that door.
During the trial, G. Giessner specified that he "highlighted the total concordance of the letters with those of the writings of Mrs. Marchal". Then, pressed by the defense, he conceded: "It is two-thirds surely the writing of the victim, a third not" [35]
At the request of the defense, a second opinion was given to Ms. Buisson-Debar. It confirms the conclusions of his colleague [10] [36], but not without some contradictions. The second report states that out of ten letters in the first inscription, only five resembled the writing of the victim [37].
In 1999, a new writing expert was brought on by Mr. Gauthier and Ms. Dumont. Presented by the defense in support of a request to review the conviction, this expert concluded that the writing was not that of the victim. [38] The the appeals board (revision board?) then asked Françoise De Ricci and Anne Bisotti for further expertise. They stated that "writings" made in such dissimilar conditions can not be "reasonably compared" [24].
Françoise Bouzon-Thiam, author of a book on the case, observes that the bloody letters have abnormally short downstrokes as though they were interrupted (could also be “hanging” or “suspended) while the letters in Ghislaine Marchal’s crosswords have elongated downstrokes. The contrast is especially clear for the M, A and R. She believes that the letters in the messages reveal them to have been written by the killer.
Who blocked the metal door and how?
Captain Georges Cenci says that the metal door to the cellar is "the only way to access it, and to forbid access" [40]. Given this, and with the victim being the only person present at the scene, she is the only person who could have barricaded herself there. The defense never seems to have contested the first point, only trying to show that the murderer could have gone out through the metal access door while still causing a blockage
As previously mentioned, there was a metal pipe at the base of the door which blocked it from opening. However, the pipe was very thin and there was a gap between the bottom of the door and the ground. The pipe could pass easily under the door, if it was lying flat. How, under these circumstances, could someone use it to stop the door?
In February 1992, during an on-site visit by investigators, magistrates and lawyers, the investigation concludes that Ms. Marchal placed the metal tube on top of a wooden beam which had the effect of lifting it from the floor on the end that was against the door, which prevented the door from opening.
Defense lawyers contested this and argued that the police did not notice this beam on June 24 [43]. They also claimed to have demonstrated that it was possible to press the folding bed against the open door so that when you exit and close it slowly, the bed is drops to block the door from opening. The iron bar could have fallen when the police pushed the bed back [44].
Ève Livet says that the gap under the door is reduced near the hinge because the floor is not level. If the metal bar was near this hinge, its thickness would have been sufficient to block the door, as indicated by movement tracks on the ground. She also thinks that the bed could have momentarily jammed on a large PVC pipe located across the hallway
Detective Roger-Marc Moreau says he has found a way to easily block the door from the outside under the same conditions Captain Cenci believes that it is impossible because of a raised area under the door and that Mr. Moreau never came to see it in person
More:
The defense’s theory of the crime:
The defense argues that the the violence and the large number of blows show "an almost passionate relentlessness, the expression of an lukewarm (warmed-over?) hatred (the phrase appears to literally mean “reheated” and usually refers to food) which doesn’t fit with personality of Omar Raddad and his good relationship with his employer (see below). Mr. Vergès also points to the fact that no sign of any scratches were found on Omar's hands, nor any blood on his clothes. Since Captain Cenci admits that the crime was not premeditated, Omar would not have had any gloves or extra clothes with him. How could he have avoiding staining his clothes with blood? (see below) [63]?
Additionally, the gravity of the wounds Ghislaine Marchal suffered makes all the physical actions attributed to her unlikely (writing the “right burst” without supporting herself in any way, moving multiple times, blocking the door).
Mr. Vergès also noted that the body of the victim was not found in front of the second inscription. At trial, Me Leclerc, lawyer for the prosecution, said she "pushed herself to write these last words with a dying hand” which suggests that she had written the message in her last breath, just before dying [64]. But she was actually discovered 1.50 m behind this door. The defense also argued that the splayed position of her limbs and her bathrobe being bunched up on the top of her body suggest that she was dragged to that position by her feet.
Another revealing detail for the defense: a clear trail of blood running down the victims inner thigh, perpendicular to the ground and the line of the leg. It would have taken 7 minutes for this blood to coagulate, so if the victim had stood up to do all that was said, that blood would have flowed in another direction, or would have been smeared by the movement of her thighs. The victim therefore could not have moved after her attacker left. [66]. That wound, like a dagger's blow, could have been done to make sure the victim was no longer reacting. "A procedure (move?) known to all hunters" [67]. In addition, the bathrobe was not pierced by this strike, so the injury was inflicted while the garment was already pushed up Marchal’s body [68].
Finally, the thesis of the hedge trimmer, or a kitchen knife as murder weapon does not fit with the description of a tapered double-edged blade, 2 cm wide [69]. Besides, would the gardener have been stupid enough to put away the key to the cellar with the gardening tools, as if to incriminate himself?
Defenders of Omar Raddad presented several scenarios for this crime, with deep divergences between them. [71]
At first, the defense lawyers, Mr. Girard and Mr. Baudoux, admitted that the writing was indeed that of Madame Marchal, who would have written under duress even torture. This is the "diabolical scenario" [71]. However, the experts say that the injuries of the victim are not due to torture, and this argument was rejected by all parties [72].
A new defense lawyer, Mr. Guidicelli, does not believe in the "diabolical scenario"; he does not dispute the report of the first graphologists, but thinks that Madame Marchal was mistaken about the identity of her attacker [73]. This hypothesis was also considered by the investigators (see below). This “friction” between the defense lawyers led Mr. Guidicelli to withdraw from the case [10] [74]
Then Master Vergès took over the case. He formally challenged the conclusions of the graphologists, and believed it was the killer who wrote the message "with his gloved hand", dragged the body of his victim into the boiler room, and likewise wrote the second message with the intention of making it appear that Ghislaine Marchal had written both. This is the “staging theory", which would be presented at the trial [75]. Faced with the impossibility of getting his three lawyers to agree, Omar Raddad"reluctantly" separated from Girard and Baudoux 10 days before the start of the trial [76].
Variation of the staging theory: the murderer(s) could have carried or dragged the unconscious to the doors to make her write the inscriptions by dipping her finger in own blood and guiding her hand. Her head hanging down pressed against the “first door,” leaving the blood stain that appeared below the message. The murderer would have believed that the investigators could identify the fingerprints, which was not possible because the marks were “slid" (possibly “smeared”?). Under this theory, it would be the killer’s writing, because when one guides the hand of someone else to make them write something, it is the handwriting of the one who controls the hand which appears [77] .
Detective Roger-Marc Moreau and the expert in writing Danièle Dumont developed the theory that the incomplete inscription was first drawn by holding the hand of the victim’s corpse. This was no sufficiently legible, so the killers would have written the second inscription themselves, more clearly and in large letters.
Regarding the staging hypothesis, the prosecution raised a question: Who knew that Omar Raddad was going to be near the crime scene that day? The gardener never worked on Sundays as this particular day was also a Muslim religious holiday day [78], he would be assumed to have stayed at home with his family. It is highly unlikely that anyone would have expected him to be at Francine P.’s house that day. Captain Cenci believed that the only two people who knew he was there were Francine P. and Omar Raddad himself [79]. Unless the inscriptions are referring to another Omar.
Some Additional Important Facts : ·Omar Can't Write Or Read , He Can Read Only His Name.
·There Was A Housekeeper That Was Jealous Of The Good Relation Between Omar & Ghiselaine.
·Omar Love To Go & Play In Casino , And There Were Rumors That He Paid Prostitutes For Sex & But Was Later Clear Off.
· There Was Rumor That Omar Was In Need Of Money , And Will Often Ask For His Salary Before The Due Date.
·Omar Radad Would Go On Hunger Strike For Months Often When He Was Imprisoned But Was Force To Break As He Didn't Want To Die , He Just Wanted To Be Prove Innocent And Be Free.
Source : https://en.m.wikipedia.org/wiki/Omar_Raddad_Affair
Photo Of "Omar M'a Tueé" : https://images.app.goo.gl/s5C9QwtoLPxdskxL8
Photo of Scrambled : https://images.app.goo.gl/K5ATy32pGH9Pzek7A
Photo Of Ghiselaine Marchal : https://images.app.goo.gl/fP4Deug8AHx6ojL59
Ghiselaine Marchal's Body On Crime Scene : https://images.app.goo.gl/66np23hPBBKu4aPAA
Crime Scene : https://images.app.goo.gl/3uKTD4k8LgdtS4pY9
Crime Scene : https://images.app.goo.gl/9iF4fJFFnUZ2RCJ18
What's Your Thoughts About The Case ? Do You Think Omar Radad Is Guiltly ?
·Omar Radad Wrote A Book About Being The Murder Which Name Is "Pourquoi Moi ?" (Why Me ?)
·A Book Was Written By The Officer (Capitaine Georges Cenci) Who Was In Charge Of The Case Which Name Is : Omar L'a Tueé (Omar Killed Her) & It's Free. (But It's In French Link : http://omarlatuee.free.findex.php?post/2014/02/Lire-gratuitement-Omar-l-a-Tu%C3%A9e-%21
· The Entire Judicial Chronology Of The Case Of Omar Radad : (Can Be Translate In English Don't Worry)
http://omarlatuee.free.findex.php?post/2011/06/Toute-la-chronologie-judiciaire-de-l-affaire-Omar-Raddad
What's Your Thoughts About The Case ? Do You Think Omar Radad Is Guiltly ?

From: http://www.asm-vizu.net/showthread.php?19068-Infos-provenant-du-cousin-de-la-belle-s%9Cur-du-voisin/page123
In the name of all three of us, i want to honestly apologize to everyone who's feelings are hurt, the majority of our story is true, but of course there are certain parts that you can call "alternative truth"...we did all of this on our own, nobody from the club told us to do it and nobody else influenced our decision, from the start we were aware that sooner or later we'll have to explain ourselves, no matter what happens before the end of August...would we do this all over again, yes we absolutey would, it sounds cold-blooded but at that point we thought it was the best solution and we still think that is was the right move...i will break down the whole story to the smallests details and i will explain what was the real truth and what was the "alternative truth", hopefully some of you will understand us, and for others who are most definitely insulting us while they are reading this, it's alright, we don't mind it at all, we knew the risk and we accept the responsibility...
There are so many private messages and too many replys in this topic, so i really can't answer you all, i'm writing this first without knowing what you asked or commented while i was gone, if this huge post doesn't provide answers for your questions that you might asked, feel free to ask me again, either here or through private messages...please, i know that there are plenty of questions about our family and hopefully you will understand that i won't provide you certain answers for various reasons, most things about our familly are true, especially about father, while both son's education is purposely misleading for the reasons that i won't get into...also, nobody from our family has permission to meet in person with people who aren't in their inner circles, we are heavily protected and everybody new must go through tough security check, it sounds super shady, but that's the case with most similair families who are in our position, safety is always our priority...we are best friends with Fedorychev and we have good relationship with Rybolovlev and Vasilyev, we are also very good with Prince Albert, so don't worry about us, we know what we are doing and our motivation was very clear, so please avoid questions about our family and concentrate only on the questions about our football club...
Did you ever watch some movie that's based on a true story, but while you're watching you notice that certain things are added for dramatic effect, well that's exactly what we did, we needed to hype the story so that it has stronger effect...Ronaldo is not a done deal, that was the biggest "alternative truth", but there are resonable chances that we can get him this summer, i'll start from the beginning and i'll explain you his case...he indeed reached out to Rybo with desire to join Monaco in the near future, that has happened few months ago, but the chances of that actually happening were slim at best, until the whole tax fraud case in Spain, after that he became more and more unhappy in Madrid and his agent started sending signals to us that we should keep all our options on the table if the deal can be done, but still nobody really believed that it's possible to get Ronaldo this summer...then, on July 10 there was conversation between Vadim and Perez about possible Mbappe's transfer to Real, during that talk Florentino suggested that maybe we can give them €50M along with Mbappe if he receives transfer request from Ronaldo, but he didn't promise anything...after that meeting, we took number 7 from Rony Lopes just in case if something concrete happens before the transfer window ends, also Tielemans will get number 10 once Mbappe leaves, while Ghezzal will take number 17, meanwhile he will wear number 12...this is the absolute truth, but it wasn't bombastic enough, so we had to add special effects, there are 50% chances of Ronaldo coming to Monaco before the transfer deadline, it's still much better than 0%, but it's far from a done deal...we took the risk and predicted ahead that the deal will be made, we are still very optimistic that everything will be exactly how is planned, of course it's a huge gamble, it's like going to casino and putting all your chips on color red, hoping that everything will end perfectly...in either scenario we would come clean, if transfer happened or not, we planned to explain our actions and to apologize to all Monaco fans, this wasn't about creating something that doesn't exist, it was just getting ahead of everybody and putting things in proper context, sooner or later we would explain everything, no matter the outcome...
Why we did this in the first place...we wanted to pressure Rybolovlev to buy Ronaldo, it sounds stupid doesn't it, but don't jump to conclusions, there is a method behind the madness, we are doing very similar stuff in the business world, so we just applied the same approach here...in most cases leaking about something while the work is still in progress behind the scenes doesn't lead to the positive outcome, but this case is much different and here we needed to give a little extra push...when i say we wanted to "pressure" Rybo, don't take the meaning of the word literally, we wanted to "use" our fans and create enough excitement and hype, so that all this negativity about everything that is happening disappears, and that our fans start spreading positive messages to our club in all forms online, both on message boards and on various social media platforms, we wanted to reverse their negative feelings into positive vibes, we wanted to redirect their attention from probable departures to possible arrivals...
Now, listen to this carefully...everything that we said about Rybo and Vadim is completely true, but we left out one thing in order to present that everything was always perfect, so let's get back to the summer of 2014 and Falcao's exit, that was the only time when our President started rethinking about his future with our football club...when some of our fans started demanding that club gives them back money that they spent for season tickets, because we lost both James and Falcao, without bringing anyone of significance to replace them, when people were basically laughing at arrival of unknown Bernardo Silva who played for Benfica B, that was the moment when Rybolovev took all of that very personally and he was incredibly disappointed at out fans reaction after everything he did in order to save our club from going down to third league...everything that has happened that summer was a result of Financial Fair Play, because once Rybo saw the punishment that City and PSG received, he knew that we will be hitted even harder next year if we don't start cleaning our books...Vadim did everything humanly possible to balance our books and to still keep all other players even though Moutinho and some other guys started receiving offers, that summer totally redefined our initial project, and as i said it before, if there wasn't FFP, then Rybo would invest three times more money during the first couple of seasons, just like Abramovich did when he took over Chelsea, but rules are much different today than they were 14 years ago...also, when some of our fans wrote "Mendes Mafia" and when they started talking all over the place how our Russians only came to the club for financial reasons, without any real sports ambitions, and that they will very soon sell everything that we have, fill their pockets with cash and quickly disappear, well both Rybo and Vadim took that to their heart and they couldn't believe how all of a sudden our fans are so spoiled and how come their memory is so short...we always had PR problem, that summer was also the time when our President's name was in various tabloids with bombastic headlines, so pretty much the whole world started believing that he lost half of his fortune overnight and that he and Prince had terrible relationship, and none of that was true, but even today pretty much all of football fans who don't follow Monaco closely think that those things were true...again, the only reason why he had to dramatically changed our project was FFP and nothing else, in the end we were successful during that transition, even though there was strict monitoring of our books by UEFA, Rybo couldn't pump more of his personal money because of the rules and we were basically limited in how much money we can offer to our own players, so other rich clubs were able to offer bigger salaries to our players and we had to sell them in order to clear our books as soon as possible...that summer was the only time when Rybolovev had doubts about continuing as our President and majority owner, and the main reason were our own fans who got used too quickly on overnight succeess after Ligue 2, that they couldn't accept anything less than being on the same level as PSG...
Let's fast-forward to this summer, because something very similar started happening when the transfer window opened, all of a sudden our fans forgot that we won title after 17 years and that we dethroned our rivals from Paris even though our budget seemed laughable compared to their that's backed by the whole foreign state...from the day that Silva was sold to City and until the day that we signed Ghezzal, there was so much negativity towards our club from our own fans all over the Internet, soon all of that quickly reached the highest levels and once again, Rybo started to take it personally, not as bad as three years ago, but bad enough that he started rethinking about going after Ronaldo seriously, because if our fans are acting like that, after we had the best season in the history of our club, then what's the point of breaking the bank for Ronaldo if nobody really appreciates everything that he and Vadim did for us, during good days and during less successful days, why going all-in and making big financial risk to get one of the best players in the history of football, if our fans will quickly turned their back if things become a little more challenging for whatever reason, the level of negativity was like we have fallen to Ligue 2 once again and there's no light at the end of the tunnel...instead of having more confidence in the people who saved us from misery, fans get caught in the moment and they take every single rumour so personally and literally like the world is ending tomorrow if we sell player A and buy player B, of course football is all about business and fans are all driven by their emotions, well people who run the club also have emotions and Russians have tendency to take things too personally if they feel that their work isn't appreciated enough, so every bad word that reaches Rybo and Vadim can have certain effect, and this summer there's almost nothing else than bad words about how we are handling transfer window and pretty much everybody forgot how much obstacles we had in the past and how much successful we were last season...people were bashing Silva and Lemar because they were unknown, but now they can't live without them, they were bashing Mendy because OM fans were making fun of us for signing someone who can't even walk correctly, but overnight he became fan favorite, pretty much majority of young players that came in the past were welcomed with over-the-top scepticism, but in a year or two they became untouchable in the eyes of our fans...so instead of having more faith in our scouting departement and in our coaching stuff, everybody wants only confirmed superstars and everything else is disaster in advance, so instead of giving a chance to new players to prove themselves, fans already know that Mboula has low football IQ, that Diakhaby is average at best, that Lopes isn't even for Ligue 2, that Ghezzal only played two good games in his life, both against Monaco, that Imbula should retire because he lost all his talent overnight, that Jorge is too soft for french league, that Kongolo better switch to basketball, that Carrillo should change career to became construction worker, that Sylla is more suited for 100m sprint than football pitch, and so on and on...
Spreading story ahead of time about possible transfer where Ronaldo ends up in Monaco was the only way to stop negativity, of course some people are always negative no matter what, but good number of fans are driven by current events and their mood goes up and down depending on current rumours, in one hour they can go through all stages of human emotions, so it was very important to deliver really big and powerful rumour that will immediately change their mood and hopefully keep them in more positive state no matter what else is circulating in the rumour mill..saying the real truth that we have solid chances to get Ronaldo, but that many factors are in play, simply isn't powerful enough, you could say that about any given player, we needed clear and defined message that Ronaldo is a done deal and that everything else are just small details to be solved...the reality is that Ronaldo indeed has desire to come and that Monaco will do everything in their power to make that transfer, also it's true that Mendes and Perez have verbal agreement that Ronaldo's real release clause is at least five times smaller than the number in the contract that serves only for marketing purposes, so Monaco is willing to talk and Real is willing to listen, chances of getting Ronaldo are 50%...numbers concerning his transfer and his future salary are fabricated, we came up ourselves with those calculations, it's true that Perez said to Vadim how Ronaldo is worth at least Mbappe and additional €50M, so we used common sense and knowing the price of Neymar's transfer and various sums demanded by Monaco for Mbappe, we thought that €230M is the right numbers, just like we thought that Ronaldo's salary has to be bigger than what he's getting now, plus it would be logical that he wants bigger number than what Messi or Neymar are earning, so we came up with more than €30M...also, Ronaldo wasn't in the Principality few nights ago, but he had meetings with Bernard Arnault during his summer break and we heard strong whispers about LVMH thinking to invest more than €200M in CR7 luxury brand for 49% of ownership stake, so when Bernard Arnault popped up in Monaco few days ago, it was perfect to mixed up real and alternative truths, even though we were perfectly aware that everybody will be suspicious how come nobody saw Ronaldo in Hotel De Paris, we wanted that strong dramatic effect...also, of course he didn't had any dinner, but he had multiple meetings with both Falcao and Jardim in the previous months on various locations, it was more friendly oriented, but they did exchanged few words about potentially being on the same team...everything that was said about friendship between Rybolovlev and Ronaldo is also absolutely true, just like everything that was said about Rybo and Mendes and their various business and personal ties, the desire to bring Ronaldo is stronger than ever, but with such a big transfer there are much more complications than casually presented by us how it's a done deal...his 007 presentation is of course nothing but big "alternative truth" and those things can't be arranged until the contract gets signed, but we added up for dramatic effect because people can easily picture Ronaldo in elegant suit entering Monte Carlo Casino, doing few James Bond things and then changing into red-and white uniform and getting presented to all our fans gathered around Place Du Casino, we knew that this details will also raise eyebrows when people read it, but Ronaldo already had numerous marketing campaigns where he was dressed like Agent 007 while promoting various luxury brands...
We knew that many people won't belive in our story, even in real truth that getting Ronaldo this summer is more achievable than people think, and that dose of scepticism was enough for us to go all-in and pump the story throught the roof, so even if they don't believe, it will raise some doubts inside them that it's so crazy it might actually be true...of course, we knew that there will be people who will believe in every single word and that they will be hurt if nothing happens or if our story gets uncovered ahead of time, so once again, in the name of all three of us, i'm deeply sorry if we caused you some harm, we were aware that stepping on people's feelings will come back to haunt us, so we fully accept any responsability for what we did, any harsh words or insults are totally understandable and hopefully in the end you will find the way to forgive us, as i said it before, we are all Monaco fans and everyone with red and white blood in their veins is part of one big Monaco family that will stand for their beloved club both during good and bad times...for others who never believed anything that we said, and who don't believe in what is written in this big post, we just want to tell you that no matter what you think about us and about our intention, and no matter what you say about us now and in the future, we won't hold it against you and we perfectly understand your animosity after everything we did, but we are offering you hand of friendship and hopefully you can also forgive us one day, because we all have one thing in common that keeps us awake during long nights and that puts us throught emotional rollercoaster every weekend, and that thing is called love for AS Monaco...
Our main goal of creating enough buzz for Ronaldo to Monaco rumours wasn't intended for journalists, we couldn't care less if they will pick up something or find out on their own that there is reasonable chance of that deal coming to fruition...we wanted to get our own fans excited so that every time our club posts something on social media, they get flouded with positive comments and with Ronaldo mentions, just like how fans negativity quickly reaches to Rybo and Vadim, the same applies for positivity, if there is enough buzz from our fans, then Rybo will get even more motivated to do everything possible and bring Ronaldo now when many things are playing in our advantage, we had to stop negative comments from our fans and all Ghezzal trash talk that was talking place when he signed, so that people can concentrate on Ronaldo and his possible arrival...our little story lasted four full days and we knew that we can't last more than a week because we left enough breadcrumbs behind while creating all of this, plus ever since day one there was much bigger interest than we expected and suddenly the story started circulating all over the place, so more and more people were determined to haunt us down and i'm glad it came from our own fans, rather than from journalists who where working their sources like crazy in order to find out is there any credibility to all of this...as i said, we know how wrong it was to play with other people's feelings, but we felt that is was the right move to make and we would do it all over again, we feel that only something so dramatic can change the overall conversation that's dominating this summer among our fans, which is mostly highly negative, so by risking to hurt some people along the way, we decided to carefully craft our story, using mostly true facts, but decorating it with spicy details and other bombastic stuff so that there is enough of buzz created...
This should be enough, hopefully i explained our motivation and you can see what in our story was true and what was added like special effects, everything that was said about Mbappe, Lemar, Fabinho and the reasons about selling our players was true, except that if we can't get Ronaldo, we will try our best to strengthen our team with other proven talent that becomes available on the market...everything about Mbappe's father was true and while club wanted to keep him after season ended, more and more teams where chasing him while proposing much bigger salary than what we were prepared to offer him, so very soon it became clear that he won't extend and that it's better to sell him now while his price is incredibly high, instead of risking of losing him for peanuts or some potential injury that would dramatically decrease his market value...when we created this story, we wanted to protect Mbappe and tell everyone how he's willing to stay one more year, but that club is determined to sell him, we did this knowing that otherwise our fans will start harassing him online, just like what is happening right now, his father should receive all the blame, while Kylian should get a pass...chances of going to Real are still sky high, while City and PSG are very unlikely options, our club will try everything to use him like the main tool for getting Ronaldo, but things are complicated and hopefully our fans can remain a little bit more patient in the next three weeks, please show more support to Rybo and Vadim, because they didn't came to make money, they are here only because of their true passion for Monaco and they are planning big things for the future, your positive energy and words of support on message boards and social media platforms will give them more reasons to make us all happy...there are plenty of journalists and insiders with their special "sources" that are in 90% of situations just false, either planted on purpose by some agent or by some club, or completely made up in order to sell more newspapers and to get more clicks on the Web...so don't take every word literally, wait until something really happens, wait until it becomes official, don't jump the gun and don't get caught up in the moment, re-evalute every information that you hear, things are not always black or white like they seem, this is all one big grey area and multiple sides have multiple interests to do or say something during transfer window that might be true or not...
All in all, hopefully you understand better the whole story and why we did this and what was our motivation, wait until the transfer deadline and after that we can all togheter see how everything was handled and what was the final result...i don't have time to read private messages now or to read your replys before this post was made, but please feel free to post your questions if you have them, either here or throught private messages, and when i come back tomorrow morning i'll give my best to provide you more answers...we feel good that we did this and we think that it was needed at that moment, people can belive us or not, they can insult us or not, but we are the least important thing, as long as our fans are showing enough respect for our beloved club, and especially for Rybo and Vadim, we are perfectly fine with taking all the blame if something doesn't go according to the plan...AS Monaco will never be on the same level as the biggest clubs in the world, looking at all things combined, both on and off the court, but it can be the sexiest club on the planet and with everything that our President has planned for the future, from new traning center to fixing Stade Lous II, there are so many reasons for all of you to stay optimistic, and no matter what happens until the end of this transer window, we will always be one big red and white family...

L’industrie du jeu en ligne a pris de l’élan ces dernières années, mais elle n’est pas légale dans de nombreux pays du monde et, là où le jeu interactif est autorisé, les joueurs bénéficient d’un large éventail d’opportunités dans le domaine des paris et des casinos en ligne.
Dans les casinos les plus populaires au monde, il y a toujours un grand nombre de jeux, ce qui explique leur popularité. Cette fonctionnalité a été en mesure de sauver pour eux-mêmes et les institutions en ligne. Les tout premiers casinos en ligne sont apparus en Grande-Bretagne, c'était en 1997, mais ils sont rapidement devenus des marques mondiales dans le domaine des jeux de hasard.
Jeu en ligne à l'étranger: fonctionnalités et fonctionnement Les joueurs étrangers sont principalement séduits par la possibilité de jouer à un grand nombre de jeux. Selon les statistiques, on peut dire que non seulement le divertissement classique est populaire, mais aussi des choses comme le poker avec un vrai croupier.
C’est sur ce principe et sur l’expérience de collègues étrangers que les casinos en ligne russes fonctionnent. Ils offrent une large gamme de paris et mènent des actions marketing efficaces pour attirer les gens. Les exigences élevées sont définies pour le logiciel, il doit être le meilleur et le plus diversifié. Ce sont ceux qui sont utilisés dans les zones de jeux en Russie.
Les licences
Lorsque la notation des meilleurs casinos étrangers a été créée, la légitimité de l’institution a été au premier plan. Les joueurs expérimentés savent que seul un tel lieu leur garantit la liberté de jouer et un paiement honnête pour gagner.
Chaque casino en ligne, pour lequel sa réputation est importante, doit posséder une licence lui permettant de fonctionner. Des licences peuvent être obtenues dans les territoires suivants: Royaume-Uni, Malte, Gibraltar, Curaçao et l’île de Man.
La plupart des établissements légaux possèdent des licences obtenues dans ces zones. En outre, les résultats de l’étude ont montré que les casinos en ligne ayant reçu l’autorisation de travailler dans les territoires indiqués ci-dessus ne sont pas bloqués dans les pays où il opère. La seule exception était la Hollande, où des ressources similaires sont sujettes au blocage.
Conception de site web
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Le site doit être simple et intuitif afin que le joueur potentiel puisse https://casinoenlignenox.com/casino-en-ligne.htm l'explorer un peu et choisir les jeux auxquels il va jouer. Lors du développement du site, une attention particulière doit être accordée au dessin des couleurs. La couleur ne doit pas être très frappante, elle doit être suffisamment brillante pour distraire votre attention. Cette conception est assez rare et principalement parmi les débutants et les escrocs.
La règle d'or suivie par les concepteurs-concepteurs est de ne pas rendre le site trop gris, pâle, laide, car un joueur potentiel doit comprendre qu'il ne se trouvait pas sur un site simple, mais dans un casino en ligne.
Une variété de langues de support
Les casinos en ligne prenant en charge 3 ou 4 langues ne seront jamais au top, les plates-formes interactives prenant en charge de 10 à 20 langues occuperont toujours les positions de leader dans ce secteur. Il est évident que le multilinguisme attirera un grand nombre d'acteurs de différents pays, ce qui est en soi bénéfique pour l'opérateur.
Grâce à la prise en charge d'un grand nombre de langues, tous les utilisateurs se sentiront à l'aise, car ils n'auront pas à comprendre les subtilités des paramètres et à traduire des parties incompréhensibles du texte à l'aide d'un traducteur. Ceci est particulièrement utile dans la section où le compte est reconstitué ou l'argent retiré.
Prix ​​et reconnaissance
Jeu en ligne à l'étranger: caractéristiques et fonctionnement
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Habituellement, les informations sur les récompenses et les réalisations des casinos en ligne figurent sur des pages séparées et attirent l’attention de l’utilisateur avec un design inhabituel ou une marque spéciale.

CONTENT COURTESY OF COLUMBIA CVB
 
ON STAGE

• Comedies in Concert Tuesday 7 PM at MU’s Corner Playhouse. In this madcap original series, Mizzou actors, directors, and playwrights read, rehearse and stage a performance in less than 8 hours. Can they do it? Without losing lines, props, costume pieces, and their minds?!.

• Hot Summer Nights: Safety Last Wednesday 6:30 PM at Missouri Theatre. With the Missouri Symphony Orchestra performing right under the screen, “Safety Last” will enchant audiences of all ages. The classic romantic comedy starring Harold Lloyd includes one of the most iconic silent film images: Lloyd clutching the hands of a large clock – as he dangles from a skyscraper over traffic. Mr. Lloyd did how own daredevil stunts in this very funny Hal Roach film.

• “Red, White, and Tuna” Thursday-Saturday 7 PM and Sunday 2 PM at MU Corner Playhouse. Red, White, and Tuna visits the tiny town of Tuna, Texas on the Fourth of July. The fine folks of Tuna are gathering for the annual celebration and laughter and mischief are sure to follow. Reprising their tour-de-force performances from Greater Tuna, Matt Saltzberg and Jean Tartière bring the residents of Tuna to life, reminding everyone that the more things change everywhere else, the more Tuna stays the same.

• “Laughing Stock” Thursday-Sunday 8 PM at Maplewood Barn Theatre. A middle-aged artistic director, of a summer stock barn theater in New Hampshire, embarks on taking the random and comical cast and crew on a wild ride that includes giant mosquitoes, eccentric directors and a very limited budget while the group gallantly attempts to keep the theater from going under. Laughing Stock gives audiences a backstage look at a ragtag troupe of actors, and their backstage mischief, as they attempt to stage three repertory productions.

 
SPECIAL EVENTS

• Morning Movies: Summer Series – Lego Batman Movie Monday-Friday, 10 AM at Forum 8 Theater. Those belonging to our Frequent Moviegoer Rewards (FMG) will be able to see any movie in the series free-of-charge when they present their FMG card at the box office. Each member will get up to 6 free admissions with their FMG card per show. Non-members will be charged $1.00 per ticket. A cooler-than-ever Bruce Wayne must deal with the usual suspects as they plan to rule Gotham City, while discovering that he has accidentally adopted a teenage orphan who wishes to become his sidekick.

• Ragtag Cinema presents ‘National Theatre Live: Edward Albee's Who’s Afraid of Virginia Woolf?’ Monday 6:30 PM. National Theatre Live and Ragtag are excited to present James Macdonald's new production of Edward Albee's landmark play Who's Afraid of Virginia Woolf?, captured at London's Harold Pinter Theatre. In the early hours of the morning on the campus of an American college, Martha (Imelda Staunton, Vera Drake), much to her husband George's displeasure, has invited the new professor and his wife to their home for some after-party drinks. As the alcohol flows and dawn approaches, the young couple are drawn into George and Martha's toxic games.

• Ragtag Cinema presents Homebrewed #4: ‘Most Beautiful Island’ Wednesday 6:30 PM. After a devastating personal tragedy in her home country, Luciana flees to New York City, piecing together an undocumented life of odd jobs and decrepit apartments. When her friend gives her a lead on a gig Luciana enters into the strange depths of the city literally becoming a player in a deadly game of nightmarish proportions. Shot with a masterful, lush eye on 16mm film, the aura of the city emerges, an organism teeming with lives seen and unseen. Part genre thriller and part social issue thriller, Most Beautiful Island exposes the surreal lengths some go to for opportunity.

• Movies in the Park: Mrs. Doubtfire Wednesday 7 PM at Rose Music Hall. When it’s Summertime in Missouri and you have the opportunity to show incredibly awesome classic movies for people in a beautiful park with beers and tacos and picnic blankets and such, you do it. You can bring picnic blankets and lawn chairs and an appetite for any of the following items: beer, great films, tacos, summer, laughing, picnics, Missouri….and also beer. Free. After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wif.

• Boone County Farmers Market Saturday 8-12 PM at the Columbia Mall. When in Season, the following products expected at the market include: Flowering Plants, Vegetable Plants, hanging baskets, tomatoes, peppers, potatoes, onions, beets, radishes, spinach, lettuce, apples, peaches, berries, cucumbers, zucchini, meats, jams, jellies, soaps, baked goods, kettle corn, watermelon, cantaloupe, pumpkins, gourds, winter squash, etc.

• Columbia Farmers Market Saturday 8-12 PM in the ARC Parking Lot. Fresh vegetables & fruit, meat, farm fresh eggs, cheeses, honey, cut flowers, plants, artisan items & more. As a producer-only market, everything sold here is offered by the farmers and artisans who help sustain our region. SNAP (food stamps) accepted at all markets. Live music every Saturday! Rain or Shine.

• Butterfly Festival 10-4 PM Saturday and 12-4 PM Sunday at Jefferson Farm & Garden. Come and celebrate the opening of the Native Butterfly House at Jefferson Farm and Garden, one of only two native butterfly houses in the state of Missouri. Free tours will engage all ages and will highlight the important role that butterflies play in our ecosystem and how visitors can attract and support butterflies in their home gardens. A variety of fun activities will be offered each weekend for kids to participate in. Event is free but some activities will have a small fee to participate.

• Hot Summer Nights: Patriotic Pops Saturday 7:30 PM at Missouri Theatre. In our annual salute to Americana, we welcome back to the stage, Carline Waugh, who wowed the Symphony of Toys audience with her amazing voice. She will sing spirituals, American anthems and Broadway classics. No need for fireworks, because they will all be on stage.

• Orr Street Farmers and Artisans Market Sunday 9-1 PM at Wabash Station Parking Lot. Produce, art, jewelry, crafts, music by Austin Jones and the Bootheel Boys, and Ozark Mountain Biscuit Food Truck.

 
GALLERY
 

• The Process of Healing: Through June 30 at the University of Missouri Museum of Art and Archaeology, 115 Business Loop 70W. Artist Bill Chlanda’s photo essay explores the ways and means of healing from childhood abuse. maa.missouri.edu.

• Evolution of Perspective: Through July 16 at Orr Street Studios, 106 Orr St. Featuring works by Sara McCahon and Ashley Meyer. orrstreetstudios.com.

• Collections Show: Thursday through Aug. 1 in the Sidney Larson Gallery inside Brown Hall.

• Summer Exhibit: Through July 29 at Sager Braudis Gallery, 1025 E. Walnut. Exhibiting artists are Rebecca Crowell, Jessica Keiser, Carrie Shryock, Joel Sager and Kensuke Yamada. sagerbraudisgallery.com.
  
• The Romance of Ruins: through Aug. 13 at the University of Missouri Museum of Art and Archaeology, 115 Business Loop 70 W. This exhibit looks to ruins of the ancient world for inspiration, showing how “romantic decay” was a muse for artists working in the 18th through 20th centuries.
  

 
SPORTS
 

• Nothing this week Sports Fans!

 
LIVE MUSIC
 
Wednesday

• Tom Andes 7 to 10 p.m. at Murry’s.

Thursday

• Eric Dontè W/ Blank Thomas, Angel Of Deth, & @Dubsondeck 8 PM at Café Berlin; $5.

• Barrett Baber 8:30 PM at Rose Music Hall; $10.

• Black Joe Lewis & The Honeybears 8:30 PM at The Blue Note; $12 in advance, $15 day of show.

Friday

• Tanner Bechtel 7 PM at Cooper’s Landing.

• Summer Jam 2017 in Rose Park 9 PM; $8.

• Show Me Summer Country 9 PM at The Blue Note; $5.

Saturday

• Nicole Nelson Band 4 PM at Les Bourgeois A-Frame.

• Liz Moriondo 6 PM at The Corner Stage at Katfish Katy’s.

• Johnny Fox 7 PM at Cooper’s Landing.

• Red, White, and Blues in Rose Park 7:30 PM; $8.

• Super Thief W/ Canyons, Maw, Full Clips Emptied 8 PM at Café Berlin; $5.

Sunday

• Bradley Cunningham 3 PM at Cooper’s Landing.

• Chamber Recital No. 2, 4 PM at Broadway Christian Church.

• Red, White, and Bluegrass 6 PM at Rose Park; $6.

• The Ridgerunners 7 PM at Cooper’s Landing.

 
MOVIE GUIDE
47 METERS DOWN - Two sisters vacationing in Mexico become trapped in a shark cage on the ocean floor. As their oxygen starts to run out and with great white sharks circling them, the sisters must find a way to get to the surface alive.
ALL EYEZ ON ME -The true and untold story of prolific rapper, actor, poet and activist Tupac Shakur.
BAYWATCH - In this big-screen reboot of the popular '90s TV series, legendary California lifeguard Mitch Buchannon (Dwayne Johnson) is frustrated when a cocky, hard-partying Olympic swimmer named Matt Brody (Zac Efron) joins his beach-patrol team. However, the two men must learn to work together when they stumble upon a criminal conspiracy.
CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE - Two fourth-graders (voiced by Kevin Hart and Thomas Middleditch) hypnotize their principal (Ed Helms) in order to transform him into Captain Underpants, the superhero from their homemade comic book. The trio soon battle a new teacher at their school (Nick Kroll), who's secretly a mad scientist. This animated comedy was adapted from the series of children's novels by Dav Pilkey.
CARS 3 - To get back in the game, Lightning McQueen will need the help of an eager young race technician with her own plan to win, inspiration from the late Fabulous Hudson Hornet, and a few unexpected turns.
DESPICABLE ME 3 - Gru and his wife Lucy must stop former child star Balthazar Bratt from achieving world domination.
THE HOUSE - A dad convinces his friends to start an illegal casino in his basement after he and his wife spend their daughter's college fund.
IT COMES AT NIGHT - A married couple (Joel Edgerton and Carmen Ejogo) and their teenage son (Kelvin Harrison) isolate themselves from the rest of humanity when a mysterious plague throws civilization into chaos, but their secluded existence is threatened when a young family seek shelter with them.
MEGAN LEAVEY - MEGAN LEAVEY is based on the true life story of a young marine corporal (Kate Mara) whose unique discipline and bond with her military combat dog saved many lives during their deployment in Iraq.
THE MUMMY - A battle in the Middle East accidentally unearths Ahmanet, a betrayed Egyptian princess who was entombed under the desert. Now, a soldier of fortune must stop the resurrected monster as she embarks on a furious rampage through London.
MY COUSIN RACHEL - A dark and layered romance, My Cousin Rachel tells the story of a young Englishman (Sam Claflin) who plots revenge against his mysterious and beautiful cousin (Rachel Weisz), believing that she murdered his guardian. His feelings become complicated as he finds himself falling helplessly and obsessively in love with her. My Cousin Rachel is based on the novel by Daphne Du Maruier and directed by Roger Michell (Notting Hill, Le Week-End).
PARIS CAN WAIT - Diane Lane stars as Anne, a middle-aged woman who's looked after her inattentive Hollywood producer husband, Michael (Alec Baldwin), for 18 years. Anne and Michael are in France for the Cannes Film Festival. They plan on traveling to Paris together, but after chaos erupts on one of Michael movie sets, he's forced to leave. Anne joins Michael's charming business partner, Jacques (Arnaud Viard), on a freewheeling road trip to Paris. As she enjoys delicious meals, gorgeous sites and Jacques' company, Anne finds herself on a profound journey of self-discovery.
PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES - Captain Jack Sparrow finds the winds of ill-fortune blowing even more strongly when deadly ghost pirates led by his old nemesis, the terrifying Captain Salazar, escape from the Devil’s Triangle, determined to kill every pirate at sea…including him.
ROUGH NIGHT - Ten years after graduating from college, five gal pals reunite for a wild bachelorette party in Miami to celebrate one of their own getting hitched. However, their friendships are tested when they must cover up the fact that their festivities accidentally caused the death of a male stripper.
WONDER WOMAN - An Amazon princess (Gal Gadot) finds her idyllic life on an island occupied only by female warriors interrupted when a pilot (Chris Pine) crash-lands nearby. After rescuing him, she learns that World War I is engulfing the planet, and vows to use her superpowers to restore peace.
 
CHECK EACH THEATRE FOR SHOWTIMES
RAGTAG CINEMA – 10 Hitt Street 573-443-4359
REGAL STADIUM 14 THEATER – 2800 Goodwin Pointe Drive 573-817-0770
GOODRICH FORUM 8 – 1209 Forum Katy Parkway 573-445-7469

G

1. Elle: A Modern Cinderella Tale (Directors: John Dunson + Sean Dunson)
2. High School Musical: China (Director: Shi-Zheng Chen)
3. Little Gobie (Director: Tony Tang)
4. Mandie and the Cherokee Treasure (Director: Joy Chapman)
5. Nic & Tristan Go Mega Dega (Director: Cosmo Segurson)
6. Once Upon An Island (Director: undisclosed)
7. Ramona And Beezus (Director: Elizabeth Allen Rosenbaum)
8. Santa’s Apprentice (Director: Luc Vinciguerra)
9. Slow Moe (Director: Timothy J. Nelson)
10. Space Dogs (Directors: Inna Evlannikova + Svyatoslav Ushakov)
11. Strawberry Shortcake: The Glimmerberry Ball Movie (Director: Michael Hack)
12. The Nutcrackers (Director: Alex Colls)
13. The Secret World of Arrietty (Director: Hiromasa Yonebayashi)
14. Toy Story III (Director: Lee Unkrich)
15. You’re So Cupid! (Director: John Lyde)

PG

1. A Cat In Paris (Directors: Jean-Loup Felicioli + Alain Gagnol)
2. A Turtle’s Tale: Sammy’s Adventure (Director: Ben Stassen)
3. A Woman (Director: Giada Colagrande)
4. Adventures Of A Teenage Dragonslayer (Director: Andrew Lauer)
5. Adventures In Wonderland (Director: Tim Burton)
6. Alpha And Omega (Director: Anthony Bell + Ben Gluck)
7. Arthur III: The War Of The Two Worlds (Director: Luc Besson)
8. Beneath The Blue (Director: Michael D. Sellers)
9. Breaking The Press (Director: Andrew Stevens)
10. Cats & Dogs: The Revenge Of Kitty Galore (Director: Brad Peyton)
11. Chasing 3000 (Director: Gregory J. Lanesey)
12. Church (Directors: Foster V. Corder + Cory King)
13. Cutback (Directors: Lance Bachelder + Johnny Remo)
14. Despicable Me (Directors: Pierre Coffin + Chris Renaud)
15. Diary Of A Wimpy Kid (Director: Thor Freudenthal)
16. Do Dooni Chaar (Director: Habib Faisal)
17. Expecting Mary (Director: Dan Gordon)
18. Extraordinary Measures (Director: Tom Vaughan)
19. Farmer’s Tan (Director: Brian Tetsuro)
20. Flipped (Director: Rob Reiner)
21. Fuchsia The Mini-Witch (Director: Johan Nijenhuis)
22. Furry Vengeance (Director: Roger Kumble)
23. Golf In The Kingdom (Director: Susan Streitfeld)
24. Hot Summer Days (Directors: Tony Chan + Wing Shya)
25. How To Train Your Dragon (Directors: Dean DeBlois + Chris Sanders)
26. I Kissed A Vampire (Director: Chris Nolan)
27. Ice Castles (Director: Donald Wrye)
28. Just Wright (Director: Sanaa Hamri)
29. Konferenz der Tiere (Director: Reinhard Klooss + Holger Tappe)
30. Leap Year (Diector: Anand Tucker)
31. Legend Of The Guardians: The Owls Of Ga’Hoole (Director: Zack Snyder)
32. Let God Be The Judge (Director: Emmbre Perry)
33. Letters To God (Directors: David Nixon + Patrick Doughtie)
34. Letters To Juliet (Director: Gary Winick)
35. Main Street (Main St.) (Director: John Doyle)
36. Marmaduke (Director: Tom Dey)
37. Meeks Cutoff (Director: Kelly Reichardt)
38. Megamind (Director: Tom McGrath)
39. Monster Cruise (Director: Jim Wynorski)
40. My Girlfriend’s Boyfriend (Director: Daryn Tufts)
41. Nanny McPhee Returns (Director: Susanna White)
42. Not THe Messiah: He’s A Very Naughty Boy (Director Aubrey Powell)
43. Not-So-Super Girl (Director: Abdul MalikIbn Al-Estefan)
44. Open Season III (Director: Cody Cameron)
45. Percy Jackson & The Olympians: The Lightning Thief (Director: Chris Columbus)
46. Pure Country II: The Gift (Director: Christopher Cain)
47. Reuniting The Rubins (Director: Yoav Factor)
48. Rising Stars (Director: Daniel Millican)
49. Rust (Director: Corbin Bernsen)
50. Secretariat (Director: Randall Wallace)
51. Shrek Forever After (Director: Mike Mitchell)
52. Snowmen (Director: Robert Kirbyson)
53. Sophie & Sheba (Director: Leif Bristow)
54. Standing Ovation (Director: Stewart Raffill)
55. Summer Eleven (Director: Joseph Kell)
56. Suma Joe (Directors: Chris Armstrong + Clay Banks)
57. TRON: Legacy (Director: Joseph Kosinski)
58. Tangled (Directors: Nathan Greno + Byron Howard)
59. The 5th Quarter (Director: Rick Bieber)
60. The Christmas Bunny (Director: Tom Seidman)
61. The Chronicles of Narnia: The Voyage of the Dawn Treader (Director: Michael Apted)
62. The Dogfather (Director: Richard Boddington)
63. The Extraordinary Adventures of Adèle Blanc-Sec (Director: Luc Besson)
64. The Genesis Code (Directors: C. Thomas Howell + Patrick Read Johnson)
65. The Guardians (Director: Chris Hummel)
66. The Illusionist (Director: Sylvain Chomet)
67. The Karate Kid (Director: Harald Zwart)
68. The Last Airbender (Director: M. Night Shyamalan)
69. The Last Song (Director: Julie Anne Robinson)
70. The Nutcracker (in 3-D) (Director: Andrey Konchalovskiy)
71. The Sorcerer’s Apprentice (Director: Jon Turteltaub)
72. The Spy Next Door (Director: Brian Levant)
73. The Way Home (Director: Lance W. Dreesen)
74. To Love A Woman (Director: George Jiha)
75. Tooth Fairy (Director: Michael Lembeck)
76. Unitards (Director: Scott Featherstone)
77. What If... (Director: Dallas Jenkins)
78. What Would Jesus Do? (WWJD) (Director: Thomas Makowski)
79. White Lion (Director: Michael Swan)
80. Wildfire: The Arabian Heart (Director: Michael Vincent)
81. Yogi Bear (Director: Eric Brevig)
82. You Again (Director: Andy Fickman)

PG-13

1. ‘Master Harold’...And The Boys (Director: Lonny Price)
2. All American Zombie Drugs (Director: Alex Ballar)
3. An Invisible Sign (Director: Marilyn Agrelo)
4. Another Harvest Moon (Director: Greg Swartz)
5. Another Year (Director: Mike Leigh)
6. Bed + Breakfast: Love Is A Happy Accident (Director: Marcio Garcia)
7. Before We Say Goodbye (Director Paul Davids)
8. Between Kings And Queens (Director: Joy Dickson)
9. Blood Done Sign My Name (Director: Jeb Stuart)
10. Border Guardians Of Ackernon (Director: Paul Best)
11. Browncoats: Redemption (Director: Michael C. Dougherty)
12. Burlesque (Director: Steve Antin)
13. Burning Bright (Director: Carlos Brooks)
14. Charlie St. Cloud (Director: Burr Steers)
15. Clash Of The Titans (Director: Louis Leterrier)
16. Country Singer (Director: Mickey Reece)
17. Country Strong (Director: Shana Feste)
18. Crazy On The Outside (Director: Tim Allen)
19. Date Night (Director: Shawn Levy)
20. Dead Hollywood Blondes (Director: Deirdre McGill)
21. Dear John (Director: Lasse Hallström)
22. Detective Dee: Mystery Of The Phantom Flame (Director: Hark Tsui)
23. Devil (Director: John Erick Dowdle)
24. Dinner For Schmucks (Director: Jay Roach)
25. Dog Jack (Director: Edward T. McDougal)
26. Dylan Dog: Dead Of Night (Director: Kevin Munroe)
27. Easy A (Director: Will Gluck)
28. Eat Pray Love (Director: Ryan Murphy)
29. Everything Nice (Director: Garrett Kelly)
30. Exorcismus (Director: Manuel Carballo)
31. Fair Game (Director: Doug Liman)
32. Father Of Invention (Director: Trent Cooper)
33. Fool For Love (Director: Charlie Nguyen)
34. Freestyle (Director: Kolton Lee)
35. Ghost From The Machine (Director: matt Osterman)
36. Good Intentions (Director: Jim Issa)
37. Greta (Director: Antonio de Santos)
38. Griff The Invisible (Director: Leon Ford)
39. Grown Ups (Director: Dennis Dugan)
40. Guilt & Sentence (Director: Spencer T. Folmar)
41. Gulliver’s Travels (Director: Rob Letterman)
42. Harry Potter + The Deathly Hallows (Pt. 1) (Director: David Yates)
43. Heaven Ain’t Hard To Find (Director: Neema Barnette)
44. Hereafter (Director: Clint Eastwood)
45. How Do You Know? (Director: James L. Brooks)
46. In My Sleep (Director: Allen Wolf)
47. Inception (Director: Christopher Nolan)
48. Insidious (Director: James Wan)
49. Iron Man II (Director: Jon Favreau)
50. It’s Kind Of A Funny Story (Directors: Anna Boden + Rya Fleck)
51. It’s A Wonderful Afterlife (Director: Gurinder Chadha)
52. Jonah Hex (Director: Jimmy Hayward)
53. Killers (Director: Robert Luketic)
54. Knight And Day (Director: James Mangold)
55. Knucklehead (Director: Michael W. Watkins)
56. L'appât (Director: Yves Simoneau)
57. Lebanon, PA. (Director: Ben Hickernell)
58. Legendary (Director: Mel Damski)
59. Leonie (Director: Hisako Matsui)
60. Life As We Know It (Director: Greg Berlanti)
61. Life, Above All (Director: Oliver Schmitz)
62. Lifted (Director: Lexi Alexander)
63. Light Of My Eyes (Director: Wael Ihsan)
64. Little Big Soldier (Director: Ding Sheng)
65. Little Fockers (Director: Paul Weitz)
66. Lottery Ticket (Director: Erik White)
67. Loving The Bad Man (Director: Péter Engert)
68. Mooz-Lum (Director: Qasim Basir)
69. Morning Glory (Director: Roger Michell)
70. Mucha (Director: Berenika Maciejewicz)
71. My Girlfriend’s Back (Director: Steven Ayromlooi)
72. My Name Is Khan (Director: Karan Johar)
73. My Own Love Song (Director: Olivier Dahan)
74. Na izmene (Director: Aleksandr Atanesyan)
75. No eres tú, soy yo (Director: Alejandro Springall)
76. Of Gods And Men (Director: Xavier Beauvois)
77. Our Family Wedding (Director: Rick Famuyiwa)
78. Peacock (Director: Michael Lander)
79. Phoonk II (Director: Milind Gadagkar)
80. Preacher’s Kid (Director: Stan Foster)
81. Prince Of Persia: The Sands Of Time (Director: Mike Newell)
82. RED (Director: Robert Schwentke)
83. Rabbit Hole (Director: John Cameron Mitchell)
84. Redemption Road (Director: Mario Van Peebles)
85. Remember Me (Director: Allen Coulter)
86. Robin Hood (Director: Ridley Scott)
87. Salt (Director: Phillip Noyce)
88. Sarah’s Key (Director: Gilles Paquet-Brenner)
89. Scott Pilgrim vs. The World (Director: Edgar Wright)
90. Sheriff Of Contention (Director: Tom O’Mary)
91. Skateland (Director: Anthony Burns)
92. Skyline (Directors: Colin Strause + Greg Strause)
93. Step Away From The Stone (Director: Bob Hooper)
94. Step Up 3D (Director: Jon M. Chu)
95. Stomp The Yard II: Homecoming (Director: Rob Hardy)
96. Street Corner Sympathy (Director: Andrew C. Matthews)
97. StreetDance 3D (Directors: Max Giwa + Dania Pasquini)
98. Super Hybrid (Director: Eric Valette)
99. Takers (Director: John Luessenhop)
100. The A-Team (Director: Joe Carnahan)
101. The Back-Up Plan (Director: Alan Poul)
102. The Bounty Hunter (Director: Andy Tennant)
103. The Butcher, the Chef, and the Swordsman (Director: Wuershan)
104. The Chosen One (Director: Rob Schneider)
105. The Conspirator (Director: Robert Redford)
106. The Estates (Director: T.J. Yoshizaki)
107. The First Grader (Director: Justin Chadwick)
108. The Ghost Writer (Director: Roman Polanski)
109. The Grace Card (Director: David G. Evans)
110. The Hammer (Director: Oren Kaplan)
111. The Incubus (Directors: Marcie Gorman + Shayne Leighton)
112. The Last Exorcism (Director: Daniel Stamm)
113. The Last Godfather (Director: Hyung-rae Shim)
114. The Losers (Director: Sylvain White)
115. The Magnificent Dead (Director: Shane Scott)
116. The Mitchell Tapes (Director: Thomas S. Nicol)
117. The Next Three Days (Director: Paul Haggis)
118. The Presence (Director: Tom Provost)
119. The Rally (Director: Rick Reyna)
120. The Righteous And The Wicked (Director: Craig A. BButler)
121. The River Why (Director: Matthew Leutwyler)
122. The Road To Freedom (Director: Brendan Moriarty)
123. The Rock ‘n’ Roll Dreams Of Duncan Christopher (DIrectro: Justin S. Monroe)
124. The Romantics (Director: Galt Niederhoffer)
125. The Social Network (Director: David Fincher)
126. The Switch (Directors: Josh Gordon + Will Speck)
127. The Tempest (Director: Julie Taymor)
128. The Tourist (Director: Florian Henckel von Donnersmarck)
129. The Trial (Director: Gary Wheeler)
130. The Twilight Saga: Eclipse (Director: David Slade)
131. The Way (Director: Emilio Estevez)
132. The Way (Director: Barry Shay)
133. The Way Back (Director: Peter Weir)
134. Theft By Deception (Director: David Dietrich)
135. Time Machine (Director: Mickey Reece)
136. Trapped: Haitian Nights (Director: Jean-Claude La Marre)
137. Trollhunter (Director: André Øvredal)
138. True Grit (Director: Joel Coen)
139. Unstoppable (Director: Tony Scott)
140. Valentine’s Day (Director: Garry Marshall)
141. Vampires Suck (Director: Jason Friedberg + Aaron Seltzer)
142. Vigilante: The Hayward Brown Story (Director: Sean Spoatcoat Brown)
143. Vinnaithaandi Varuvaayaa (Director: Gautham Menon)
144. Waiting For Forever (Director: James Keach)
145. Wall Street: Money Never Sleeps (Director: Oliver Stone)
146. Ways To Live Forever (Director: Gustavo Ron)
147. When In Rome (Director: Mark Steven Johnson)
148. Why Did I Get Married Too? (Director: Tyler Perry)
149. Wild Target (Director: Jonathan Lynn)
150. Wushu Warrior (Director: Alain Desrochers)
151. Ye Maaya Chesave (Director: Gautham Menon)

R

1. 127 Hours (Director: Danny Boyle)
2. 13 (Director: Géla Babluani)
3. 13 Assassins (Director: Takashi Miike)
4. 14 Blades (Director: Daniel Lee)
5. 15 Till Midnight (Director: Wolfgang Meyer)
6. 2001 Maniacs: Field Of Screams (Director: Tim Sullivan)
7. 3 Backyards (Director: Eric Mendelsohn)
8. 6 Souls (Directors: Måns Mårlind + Björn Stein)
9. A Beginner’s Guide To Endings (Directors: Jonathan Sobol)
10. A Better Tomorrow (Director: Hae-sung Song)
11. A Horrible Way To Die (Director: Adam Wingard)
12. A Little Help (Director: Michael J. Weithorn)
13. A Nightmare On Elm Street (Director: Samuel Bayer)
14. A River Of Skulls (Director: Suza Lambert Bowser)
15. A Very Close Encounter (Director: Esmaeil Mihandoost)
16. Abelar: Tales Of An Ancient Empire (Director: Albert Pyun)
17. Acts Of Violence (Director: Il Lim)
18. Adjusting Honor (Director: Jeff Solema)
19. Airmen (Director: Mickey Reece)
20. All Good Things (Director: Andrew Jarecki)
21. Altitude (Director: Kaare Andrews)
22. Am I Alone? (Director: B.E. Rogstad)
23. American Scream King (Director: Joel Paul Reisig)
24. Amigo (Director: John Sayles)
25. Amphibious Creature Of The Deep (Director: Brian Yuzna)
26. And Soon The Darkness (Director: Marcos Efron)
27. Anderson’s Cross (Director: Jerome Elston Scott)
28. Angel Of Evil (Director: Michele Placido)
29. Animal Kingdom (Director: David Michôd)
30. As Good As Dead (Director: Jonathan Mossek)
31. Atrocious (Director: Fernando Barreda Luna)
32. BKO: Bangkok Knockout (Director: Panna Rittikrai)
33. Baby Mama’s Club (Director: Joseph L. Stovall)
34. Barney’s Version (Director: Richard J. Lewis)
35. Barry Munday (Director: Chris D’Arienzo)
36. Bear (Director: Roel Reiné)
37. Beatdown (Director: Mike Gunther)
38. Beautiful Boy (Director: Shawn Ku)
39. Beginners (Director: Mike Mills)
40. Beneath Hill 60 (Director: Jeremy Sims)
41. Beneath The Dark (Director: Chad Feehan)
42. Bereavement (Director: Stevan Mena)
43. Beyond The Black Rainbow (Director: Panos Cosmatos)
44. Big Money Rustlas (Director: Paul Andresen)
45. Biutiful (Director: Alejandro González Iñárritu)
46. Black Death (Director: Christopher Smith)
47. Black Limousine (Director: Carl Colpaert)
48. Black Swan (Director: Darren Aronofsky)
49. Blades Of Blood (Director: Joon-ik Lee)
50. Blame (Director: Michael Henry)
51. Bloodworth (Director: Shane Dax Taylor)
52. Blue Valentine (Director: Derek Cianfrance)
53. Bold Native (Director: Denis Henry Hennelly)
54. Born To Raise Hell (Director: Lauro Chartrand)
55. Boy Wonder (Director: Michael Morrissey)
56. Breaking The Fall (Director: David Metzger)
57. Brighton Rock (Director: Rowan Joffe)
58. Brotherhood (Director: Will Canon)
59. Bunraku (Director: Guy Moshe)
60. Buried (Director: Rodrigo Cortés)
61. Burke And Hare (Director: John Landis)
62. Burning Palms (Director: Christopher Landon)
63. Ca$h (Director: Stephen Milburn Anderson)
64. Caged Animal (Wrath Of Cain) (Director: Ryan Combs)
65. Camp Hell (Director: George VanBuskirk)
66. Cartel War (Directors: Jack Lucarelli + Troy Price)
67. Casino Jack (Director: George Hickenlooper)
68. Caught Inside (Director: Adam Blaiklock)
69. Caught In The Crossfire (Director: Brian A. Miller)
70. Cemetery Junction (Directors: Ricky Gervais + Stephen Merchant)
71. Centurion (Director: Neil Marshall)
72. Ceremony (Director: Max Winkler)
73. Champion Road: Arena (Director: R.L. Scott)
74. Chatroom (Director: Hideo Nakata)
75. Cherry (Director: Jeffrey Fine)
76. Cielito lindo (Directors: Alejandro Alcondez + Rodrigo Patino)
77. Circus Maximus (Director: Thomas J. La Sorsa)
78. Code Blue (Director: Arthur Alston)
79. Consinsual (Director: Paul D. Hannah)
80. Conviction (Director: Tony Goldwyn)
81. Cop Out (Director: Kevin Smith)
82. Cost Of A Soul (Director: Sean Kirkpatrick)
83. Costa Rican Summer (Director: Jason Matthews)
84. Cupid’s Arrow (Director: Daniel Peterson)
85. Cyrus (Directors: Jay Duplass + Mark Duplass)
86. Dark Crossing (Director: Damian Chapa)
87. Darnell Dawkins: Mouth Guitar Legend) (Director: Clayne Crawford)
88. Daydream Nation (Director: Michael Goldbach)
89. Dead Awake (Director: Omar Naim)
90. Deadly Closure (Director: Andrzej Mrotek)
91. Deadly Impact (Director: Robert Kurtzman)
92. Dear Mr. Gacy (Director: Svetozar Ristovski)
93. DearGod (Director: Robert Anderson)
94. Death Calls (Directors: Ken Del Conte + Hector Echavarria)
95. Death At A Funeral (Director: Neil LaBute)
96. Dirty Girl (Director: Abe Sylvia)
97. Don’t Be Afraid Of The Dark (Director: Troy Nixey)
98. Dreamkiller (Director: Catherine C. Pirotta)
99. Drones (Directors: Amber Benson + Adam Busch)
100. Due Date (Director: Todd Phillips)
101. Easy Money (Director: Daniel Espinosa)
102. Edge Of Darkness (Director: Martin Campbell)
103. Egg Nog (Director: Brandon Robinson)
104. Elektra Luxx (Director: Sebastian Gutierrez)
105. Endure (Director: Joe O’Brien)
106. Enemies Among Us (Director: Dan Garcia)
107. Every Day (Director: Richard Levine)
108. Everyday Black Man (Director: Carmen Madden)
109. Everything Must Go (Director: Dan Rush)
110. F (Expelled) (Director: Johannes Roberts)
111. Failing Better Now (Director: Keren Atzmon)
112. Faster (Director: George Tillman, Jr.)
113. Fighting Angels: Exodus (Director: Eric Vence Gfreen)
114. Fire Of Conscience (Director: Dante Lam)
115. Flying Lessons (Director: Derek Magyar)
116. Footsteps (Director: Gavin James)
117. For Colored Girls (Director: Tyler Perry)
118. Four Lions (Director: Christopher Morris)
119. Frankie + Alice (Director: Geoffrey Sax)
120. Freeway Killer (Director: John Murlowski)
121. From Paris With Love (Director Pierre Morel)
122. Frozen (Director: Adam Green)
123. Fubar: Balls To The Wall (Director: Michael Dowse)
124. Gangster Exchange (Director: Dean Bajramovic)
125. Get Him To The Greek (Director: Nicholas Stoller)
126. Ghetto Physics (Directors: William Arntz + E. Raymond Brown)
127. Going The Distance (Director: Nanette Burstein)
128. Good Neighbors (Director: Jacob Teirney)
129. Green Zone (Director: Paul Greengrass)
130. Greenberg (Director: Noah Baumbach)
131. Gun (Director: Jessy Terrero)
132. Happy, Happy (Director: Anne Sewitsky)
133. Happythankyoumoreplease (Director: Josh Radnor)
134. Hard Breakers (Director: Leah Sturgis)
135. Harvest (Director: Marc Meyers)
136. Hatchet II (Director: Adam Green)
137. Henry’s Crime (Director: Malcolm Venville)
138. Hesher (Director: Spencer Susser)
139. High School (Director: John Stalberg, Jr.)
140. Hitler’s Grave (Director: Daryush Shokof)
141. Holy Rollers (Director: Kevin Asch)
142. Hot Tub Time Machine (Director: Steve Pink)
143. House Under Siege (Director: Mark Hazen Kelly)
144. How To Make Love To A Woman (Director: Scott Culver)
145. Howl (Directors: Rob Epstein + Jeffrey Friedman)
146. Hunt To Kill (Director: Keoni Waxman)
147. I Spit On Your Grave (Director: Steven R. Monroe)
148. I’m Not Jesus, Mommy (Director: Vaughn Juares)
149. I’m Not Like That No More (Director: Christian Sesma)
150. I’m Still Here (Director: Casey Affleck)
151. Illegal (Director: Ric DuPont)
152. Immigration Tango (Director: David Burton Morris)
153. In A Better World (Director: Susanne Bier)
154. Incendies (Director: Denis Villeneuve)
155. Indelible (Director: Brian Lynch)
156. Inhale (Director: Baltasar Kormákur)
157. Ip Man II (Director: Wilson Yip)
158. Iran Zendan (Director: Daryush Shokof)
159. Irreversi (Director: Michael Gleissner)
160. Jack Goes Boating (Director: Philip Seymour Hoffman)
161. Jackers (Director: David Betances)
162. Junkyard Dog (Director: Kim Bass)
163. Kalamity (Director: James M. Hausler)
164. Karma Road (Director: Mihir Pathak)
165. Kick-Ass (Director: Matthew Vaughn)
166. Kill Katie Malone (Director: Carlos Ramos, Jr.)
167. Kill Speed (Director: Kim Bass)
168. Killer Hoo-Ha! (Director: Sean Pomper)
169. King Of Triads (Director: Dennis Law)
170. King Of The Avenue (Director: Ryan Combs)
171. Klown (Director: Mikkel Nørgaard)
172. Last Kung Fu Monk (Director: Peng Zhang Li)
173. Last Night (Director: Massy Tadjedin)
174. Legacy: Black Ops (Director: Thomas Eromose Ikimi)
175. Legend Of the Fist: The Return Of Chen Zhen (Director: Wai-Keung Lau)
176. Legion (Director: Scott Stewart)
177. Let Me In (Director: Matt Reeves)
178. Living Will... (Director: Matthew Lauyer)
179. Locked Down (Director: Daniel Zirilli)
180. Locked In (Director: Suri Krishnamma)
181. London Boulevard (Director: William Monahan)
182. Louis (Director: Dan Pritzker)
183. Love & Other Drugs (Director: Edward Zwick)
184. Love Ranch (Director: Taylor Hackford)
185. Luster (Director: Adam Mason)
186. MacGruber (Director: Jorma Taccone)
187. Machete (Directors: Ethan Maniquis + Robert Rodriguez)
188. Machete Joe (Director: Sasha Krane)
189. Made In Dagenham (Director: Nigel Cole)
190. Meet Monica Velour (Director: Keith Bearden)
191. Mercy (Director: Coier Amerson)
192. Meskada (Director: Josh Sternfeld)
193. Miral (Director: Julian Schnabel)
194. Miss Nobody (Director: Abram Cox)
195. Mob Rules (Director: Keith Parmer)
196. Monsters (Director: Gareth Edwards)
197. Morning (Director: Leland Orser)
198. Mother’s Day (Director: Darren Lynn Bousman)
199. Multiple Sarcasms (Director: Brooks Branch)
200. My Soul To Take (Director: Wes Craven)
201. N-Secure (Director: David M. Matthews)
202. Needle (Director: John V. Soto)
203. Neowolf (Director: Yvan Gauthier)
204. Never Let Me Go (Director: Mark Romanek)
205. Night Catches Us (Director: Tanya Hamilton)
206. Night Wolf (Director: Jonathan Glendening)
207. Nine Dead (Director: Chris Shadley)
208. No Body Found (Directors: Angela Lyons + Angela Rollo)
209. No Leaf Clover (Director: Andrei Sporea)
210. Norman (Director: Jonathan Segal)
211. Once Fallen (Director: Ash Adams)
212. Ong-bak III (Directors: Tony Jaa + Panna Rittkrai)
213. Open House (Director: Andrew Paquin)
214. Operation: Endgame (Director: Fouad Mikati)
215. Oranges And Sunshine (Director: Jim Loach)
216. Order Of Chaos (Director: Vince Vieluf)
217. Outcast (Director: Colm McCarthy)
218. Outrage (Director: Takeshi Kitano)
219. Paranormal Activity II (Director: Tod Williams)
220. Passion Play (Director: Mitch Glazer)
221. Peep World (Director: Barry W. Blaustein
222. Perfect Combination (Director: Trey Haley)
223. Perfect Life (Director: Josef Rusnak
224. Perfect Sunday (Director: Demetrius Navarro)
225. Phase 7 (Director: Nicolás Goldbart)
226. Pickin’ & Grinnin (Director: Jon Gries
227. Piranha 3D (Director: Alexandre Aja)
228. Placebo (Director: Nick Slatkin)
229. Please Give (Director: Nicole Holofcener)
230. Point Blank (Director: Fred Cavayé)
231. Porters: Two Men And A Sex Doll (Director: Justin Arredondo)
232. Potiche (Director: François Ozon)
233. Predators (Director: Nimród Antalj)
234. Prowl (Director: Patrik Syversen)
235. Psych:9 (Director: Andrew Shortell)
236. Psychic Experiment (Director: Mel House)
237. Psychosis (Director: Reg Traviss)
238. Queen Of The Lost (Director: Henry Jaglom)
239. Radio Free Albemuth (Director: John Alan Simon)
240. Rammbock (Director: Marvin Kren)
241. Rare Exports: A Christmas Tale (Director: Jalmari Helander)
242. Raven (Director: Gregori J. Martin)
243. Red Hill (Director: Patrick Hughes)
244. Redlight Greenlight (Director: Sean Simpson)
245. Reign Of Assassins (Director: Chao-Bin Su)
246. Release (Directors: Darren Flaxstone + Christian Martin)
247. Removal (Director: Nick Simon)
248. Repo Men (Director: Miguel Sapochnik)
249. Resident Evil: Afterlife (Director: Paul W.S. Anderson)
250. Respire (Director: David A. Cross)
251. Road Kill (Director: Dean Francis)
252. Road To Nowhere (Director: Monte Hellman)
253. Rocksteady (Director: Mustapha Khan)
254. Rubber (Director: Quentin Dupieux)
255. Sacrifice (Director: Kaige Chen)
256. Saigo no Chûshingura (Director: Shigemichi Sugita)
257. Saw 3D: The Final Chapter (Director: Kevin Greutert)
258. Scorpio Men On Prozac (Director: Rand Marsh)
259. Screwball: The Ted Whitfield Story (Director: Tommy Reid)
260. Sedona’s Rule (Director: Josh Gillick)
261. Seducing Charlie Baker (Director: Amy Glazer)
262. Sex Tax: Based On A True Story (Director: John Borges)
263. Sex And The City II (Director: Michael Patrick King)
264. Señora Maestra (Director: Ricardo Perez-Roulet)
265. Shadows & Lies (Director: Jay Anania)
266. Shanghai (Director: Mikael Håfström)
267. Shanghai Blue (Director: Oscar L. Costo)
268. She’s Out Of My League (Director: Jim Field Smith)
269. Shinigami: Analysis (Director: Justin Burgess)
270. Shoot The Hero (Director: Christian Sesma)
271. Shut Up And Kiss Me (Director: Devin Hamilton)
272. Shutter Island (Director: Martin Scorsese)
273. Sinners And Saints (Director: William Kaufman)
274. Siren (Director: Andrew Hull)
275. Six Shooters (Director: Fernando Spiner)
276. Small Town Murder Songs (Director: Ed Gass-Donnelly)
277. Small Town Saturday Night (Director: Ryan Craig)
278. Something Better Somewhere Else (Director: Ron Lazzeretti)
279. Something Like A Business (Director: Russ Parr)
280. Somewhere (Director: Sofia Coppola)
281. Sound Of Noise (Directors: Ola Simonsson, Johannes Stjärne Nilsson)
282. Special Ops (Director: Tom Shell)
283. Speed-Dating (Director: Joseph A. Elmore, Jr.)
284. Stake Land (Director: Jim Mickle)
285. Stay Single (Director: Peter Macaluso)
286. Stiffs (Director: Frank Ciota)
287. Stone (Director: John Curran)
288. Straight To Hell (Director: Alex Cox)
289. Street Poet (Director: E. Paul Edwards)
290. Submarine (Director: Richard Ayoade)
291. Suicide Girls Must Die! (Director: Sarah Remetch)
292. Super (Director: James Gunn)
293. Supreme Champion (Directors: Ted Fox + Richard Styles)
294. Sympathy For Delicious (Director: Mark Ruffalo)
295. Tamara Drewe (Director: Stephen Frears)
296. Tekken (Director: Dwight H. Little)
297. Terror Trap (Director: Dan Garcia)
298. The Accursed (Director: Adrián García Bogliano + Ramiro García Bogliano)
299. The Agency: Pursuit Of The Ares Virus
300. The Alien Girl (Director: Anton Bormatov)
301. The American (Director: Anton Corbijn)
302. The Assault (Director: Julien Leclercq)
303. The Bang Bang Club (Director: Steven Silver)
304. The Beekeepers (Director: Bryant Mainord)
305. The Best And The Brightest (Director: Josh Shelov)
306. The Big Bang (Director: Tony Krantz)
307. The Big I Am (Director: Nic Auerbach)
308. The Big Sleaze (Director: Michael Fredianelli)
309. The Book Of Eli (Director: Albert Hughes + Allen Hughes)
310. The Brazen Bull (Director: Douglas Elford-Argent)
311. The Chameleon (Director: Jean-Paul Salomé)
312. The Child’s Eye (Directors: Danny Pang + Oxide Chun Pang)
313. The Clinic (Director: James Rabbitts)
314. The Company Men (Director: John Wells)
315. The Con Artist (Director: Risa Bramon Garcia)
316. The Crazies (Director: Breck Eisner)
317. The Dead (Directors: Howard J. Ford + Jonathan Ford)
318. The Dead Undead (Directors Matthew R. Anderson + Edward Conna)
319. The Debt (Director: John Madden)
320. The Dry Land (Director: Ryan Piers Williams)
321. The Expendables (Director: Sylvester Stallone)
322. The Experiment (Director: Paul Scheuring)
323. The Extra Man (Directors: Shari Springer Berman + Robert Pulcini)
324. The Fighter (Director: David O. Russell)
325. The Final (Director: Joey Stewart)
326. The Final Storm (Director: Uwe Boll)
327. The Freebie (Director: Katie Aselton)
328. The Heavy (Director: Marcus Warren)
329. The Hooker With A Heart Of Gold (Director: Brad Jones)
330. The Kane Files: Life Of Trial (Director: Benjamin Gourley)
331. The Kids Are All Right (Director: Lisa Cholodenko)
332. The Killer Inside Me (Director: Michael Winterbottom)
333. The Killing Jar (Director: Mark Young)
334. The Killing Machine (Director: Dolph Lundgren)
335. The King’s Speech (Director: Tom Hooper)
336. The Last Circus (Director: Álex de la Iglesia)
337. The Last Rites Of Ransom Pride (Director: Tiller Russell)
338. The Lazarus Papers (Director: Jeremiah Hundley)
339. The Locksmith (Directors: Brad Barnes + Todd Barnes)
340. The Man From Nowhere (Director: Jeong-beom Lee)
341. The Maze (Director: Stephen Shimek)
342. The Mulberry Tree (Director: Mark Heller)
343. The Names Of Love (Director: Michel Leclerc)
344. The Opium Eater (Director: David Bertelsen)
345. The Other Guys (Director: Adam McKay)
346. The Pack (Director: Franck Richard)
347. The Penthouse (Director: Chris Levitus)
348. The Perfect Host (Director: Nick Tomnay)
349. The Reeds (Director: Nick Cohen)
350. The Reef (Director: Andrew Traucki)
351. The Rig (Director: Peter Atencio)
352. The Runaways (Director: Floria Sigismondi)
353. The Sylvian Experiments (Director: Hiroshi Takahashi)
354. The Town (Director: Ben Affleck)
355. The Traveler (Director: Michael Oblowitz)
356. The Trouble With Terkel (Directors: Thorbjørn Christoffersen, Stefan Fjeldmark + Randolph Kret)
357. The Violent Kind (Directors: Mitchell Altieri + Phil Flores)
358. The Virginity Hit (Directors: Huck Botko + Andrew Gurland)
359. The Ward (Director: John Carpenter)
360. The Warrior’s Way (Director: Sngmoo Lee)
361. The Whistleblower (Director: Larysa Kondracki)
362. The Wolfman (Director: Joe Johnston)
363. The Yellow Sea (Director: Hong-jin Na)
364. Tomorrow, When The War Began (Director: Stuart Beattie)
365. Tracker (Director: Ian Sharp)
366. Trance (Director: Hans Rodionoff)
367. Transparency (Director: Raul Inglis)
368. Triple Dog (Director: Pascal Franchot)
369. True Legend (Director: Woo-Ping Yuen)
370. Trust (Director: David Schwimmer)
371. Tucker And Dale vs. Evil (Director: Eli Craig)
372. Twelve (Director: Joel Schumacher)
373. Ultramarines: A Warhammer 40,000 Movie ((Director: Martyn Pick)
374. Undisputed III: Redemption (Director: Isaac Florentine)
375. Unrivaled (Director: Warren P. Sonoda)
376. Unthinkable (Director: Gregor Jordan)
377. Vanishing On 7th Street (Director: Brad Anderson)
378. Venus & Vegas (Director: Demian Lichtenstein)
379. Virginia (Director: Dustin Lance Black)
380. Virus X (Director: Ryan Stevens Harris)
381. Viva Riva! (Director: Djo Munga)
382. Waking Madison (Director: Katherine Brooks)
383. Waldo The Dog (Director: Kris Canonizado)
384. Wasted On The Young (Director: Ben C. Lucas)
385. Welcome To The Rileys (Director: Jake Scott)
386. Westbrick Murders (Director: Shaun Rana)
387. White Irish Drinkers (Director: John Gray)
388. Wigger (Director: Omowale Akintunde)
389. Win/Win (Director: Jaap van Heusden)
390. Winter’s Bone (Director: Debra Granik)
391. Wreckage (Director: John Asher)
392. Wrecked (Director: Michael Greenspan)
393. YellowBrickRoad (Directors: Jesse Holland + Andy Mitton)
394. You Will Meet A Tall Dark Stranger (Director: Woody Allen)

NC-17

1. A Serbian Film (Director: Srdjan Spasojevic)
2. Burn Out The Day (Directors: Sean Bohary + Cinqué Lee)
3. El Narco (Director: Luis Estrada)