FILM LIST
rifles goes missing and is traced toa Confederate Colonel who w ants to continue the conflict. Not unentertaining standard western tare. lidinhurgh t-‘ilm (iuild. ‘
I Robocopi lh’) ( Paul \'erhoe\'cn. t 'S. 1987) Peter Weller. Nancy Allen. Ronns Cox. 1(l3 mins. Slick and ' stomach-churningly violent tuturistic thriller. blending elements til/)ll‘ll' l/urrr Frankenstein and The Six Ali/lion Dollar.
Man. When diligent policeman Murphy is
.shot to pieces by \‘iciotts thugs. his remains are mechanicth reconstructed intoa hi-tech law enforcement otlicer but the human desire for re\cngc still heats beneath his mechanical exterior Cilasgow: Cirosvenor.
I Round Midnighti IS ) ( Bertrand 'I‘avernicr. ['8 France. 1980) Dexter (iordon. Francois (’lu/el. lonette McKee. l.‘~3mins. t.ate l‘lfills Parts. anda young French jazz tan play s w illing minder to hehop legend Dale 'l‘urner. engagineg played by real lite maestro ( iordon. lest he drink his weary body into the grave. Relentlesst touching character study with sortie tine music. (ilasgow : (il’l.
I The Serpent And The Rainbow ( ls' l ( Wes Craven. 1'5. 1988) Bill Pullman. lakes Mokac. Cathy Tyson. 98 mins. Papa Doc I)u\alicr‘s Haiti. and American anthropologist Pullman in\estigating the island‘s voodoo cult comes up against the local chielot the 'l'on ‘l'on Macoutc on his search tor a mystet'ious drug w inch is tttrning people iitto zombies. ('ra\ en. uneasy awa} from [film Street.tal|s between two stools here. not quite knowing whether he‘s making another effects extravaganza or a film olscrious anthropological intent. [{dinhurgh: Cannon. Central: Cannon
I Shame ( 15) (Stew .lodrcll. :\tlsll‘tlllit. I987) Dehorra l.ec l’urness. 'l'ony Barr}. Simone Buchanan. 02 mins. Asia (l’ttrncss) is an independent barrister and a hiker. whose motorcycle breaks do“ n
Forthe lirst time ever, the public will have the chance to view the celluloid endeavours at students lrom Edinburgh‘s Napier Polytechnic when the live graduation lilms from this year’s group at lilm specialists on the BA Photographic Studies course get a Filmhouse screening (June 8; 2.30pm, 6.15pm). Avaried bunch, ranging lrom the domestic drama at Tom Gerhardt and Steven Gray‘s ‘The Leaving‘, to the brooding atmospherics ol Alexandra Aikman‘s ‘Sodden‘, and Alan Mercer‘s personal exploration ol alienation in ‘Michael’, the lilms have been shot and edited on Super VHS oi broadcast standard quality.
Making the best ol the college‘s resources (one camera. one edit-suite) the six students on the course worked in dillerent capacities on each other‘s lilms, and staggered their production schedules accordingly, with ‘The Leaving‘ shooting as lar back as last November, while Jonathan Hunter‘s ‘88 MPH' got underwayiust alter Easter. Working lrom the most meagre ol linances the group proved most enterprising in their choice at locations, with Alan Mercertaking l
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NAPIER GRADUATION FILMS
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advantage ol the coastal landscape near Donaghadee in his native N. Ireland and Neville Kidd getting access to an impressive old castle owned by the Campbells near Kirkintilloch.
All in all. the entire enterprise is a remarkable ellort and one leels that it would have been a shame had the end results only been viewed by the teaching stall on the course. ‘The tact
The Leaving
that these photography students have actually turned away lrom the still camera towards movie-making is doubly signilicant, I leel,‘ adds director/cameraman Mercer, ‘lor it‘s both an indication ol the way that the Napiercourse is going, and also demonstrates the need tor a complete lilm-making course in Scotland.‘ (TrevorJohnston)
w hile she is travelling through the outhack. She linds herself in a small low it \s he re a conspiracy ot silence is cos ering up the gang-rape oi a young girl. .’\sta takes on her case and becomes locked in a battle with the siren“ and the w hole ol the tow n‘s male community for recognitionot
l the crime. Powerlul companion piece to
I'ltt'xtt t'ttst't/ w htclt manages to create a brooding atmosphere oi male threat without resorting to explicit detail lidinhurgh: l-ilmhotIsc.
I Short Circuit ll ( P( i l l Kenneth .lohnson. 1'8. I‘lh‘h‘l l‘lsllel Ste-sens. Michael
McKean.('yntlua(iihh. llllmins. lnnocuous sequel to a charming original has android Number 5 try ing to make It in the big city and coming into contact w ltll would-he toymaker Mcts'can. who's interested lit the titarkcting potential ol the robot‘s engaging capahtliltes. Passing
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IS BASH) ON THE TONY /\\\'.-\Rl)-\\'INNIN(} BROADWAY PLAY Elli);- .‘.‘.E‘.'= ['5 .'.'-_'-'.I u """25' silt?”- ‘. '2 1n:- . s‘. '- l - ".'= W‘- ‘-'- - '- -.a;f=.:;-s\.is .--.=_'--ssi-‘s'-.:- s ‘. ' wwvw w . “- K ‘.l'-_=.2. s1... u ‘. -.. n
Glasgow Film Theatrg and Edinburgh Filmhouse
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NOW‘SHOWING AT:
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(‘ity Limits
"Joyful"
lode)
"Heartwarming, hysterically funny, desperately sad and ultimately uplifting. Everybody should see it"w.m..r;.mmmu.
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"Sensational"
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