tn the games nlelass. pl)“ er and deeeit plated nut in the \sards make thisa peeuliarl} British tilm and henee laekmg the tautness that llnll} \snnd has e nllered it. Him es er. the drama is sn real it leax es the tear lurking in _\nur mind that l’tipt'r Max/x 3 \\ lll he pla_\ mg at a hnspital neat tnu. snnn. \nt lnr the squeamish. l1dinhurgh: ()denn.
I ParenlstlManhBalathii.l'S.1088) Rands ()uaid. .\lar} Beth llurt.Sand} Dennis. ‘lll mins. An imaginatne hleiidnl l/tlle/lrtll'. Hap/iv Hui \ and the Hills
Htii e laws. this is the assured direeting dehut lrnm ( 'lme lineuimters aetnr Balahan. Set tn 1958. it tnlltmsthe suhurhan lis es nl tun enuples. the snnnl nne pair stispeetiiig the nther enuple nl eannihalism Alter an hnur nl inereasinzll,‘ weird sitenm anties. the tiliii ehangesgeai lnr a distmetls grim ending. l’ni‘miealear \k.t\ nes er mnie lunetinnal nr sn mueh tun. ladinhurgh l 'ntxersit} l‘llltl Sneiet}.
I Presumed lnnocentt t3) 1 .\lan .l. l’akula. [8. WWW llariisnn l5nrd. ( ireta Seaeehi. llnnnie Bedelia. Brian Dennehs. Raul
.ltilia. l’aul \leield. 13h mins. ( ‘ntirtrnnm
drama u ith l lariisnn l‘nrd as the upright state pinseeutnr aeeused nl the murdernl his enlleague. (iteta Saatehi. \\ ith \\ liniii he u as has mg an attair, Raul .lulia shines as the ltt‘llltttttl delenee l;t\\}e‘t‘ determined tn get him nll l‘..\-l£l\\}e‘l' Sentt ’ltirnxs 's hest seller gets the prestige hig-sereen treatment trnm \ ete ran direetnr Alan .I l’akula \s hn returns in the themes nl his Tits' mmtes Hie l’trra/ltu lien and All [he l’nwit/elits lien. in this thnughtlul \ istnn nl enrruptinn running thinugh :\meriea's entridnisnl pnu et (ilasgnu : (attiinii t'larlxstnn Rnad. ( 'annnn 'l he l'nige. ('annnn Sauehiehall Street. ( irns\ennr. l-dinhurgh: (aimnn. l't'l. ( ~entral:
.\llanpai k. (annnn. SIt'atlte’lHle: (‘aimnn
Kell‘llt'tle. ( )denn As r. ( )denii l lamiltnn. [t ‘l (‘ltdehanle l '(‘l luast Ktlhride
I Pretty Woman t if i l(latt\ .\taishatt. t's. ltllttl) Riehard (leie. .lulia Rnherts. Ralph Bellamy, llll mins. In thishugel} sueeesltil enmeds-rnmanee. ( ieie staisas an unteeling ltnaneial\sheeler-dealer Lll\el n ermg he is human attei all \s hen he spends a \seek in the enmpans nl Rnlieits'
dnu tiltnttte gnndttttte git l. (‘ntt\ersel‘\ . she
redisenxers her sell—esteem h} llau lessh earrs mg ntt the rnle nt his highsneiets eniiipaninn. sn the audienee ean leel happs tnr hnth nt them. llte nutlme might he as haelsne} ed as they enme. hut
telex isinii \eteiaii .\laishall has jtl\l the right lightness nl tntieh l-dmhurgh; Dnmtninn. l'(’l. Central: (‘alednnian Strathelyde: l.a Seala,
I Racing With The Moon t l’( t l ( Rtettat-tt Benjamin. [8. 1033) Niehnlas ( ‘age. lili/aheth .\te( lnset‘ti. Sean Penn. lllis‘ mins. (‘nastal ('alilnrma in I‘M} and tun huddies ahnut tn gn nil in \\ ar are tnrn apart h_\' their shared emntinns tnr the same girl. Strangel}. nld-lashtnned in its mnralismg. Riehard Benjamin‘s lush rnmantie drama hnasts snme splendid earl} pertnrmanees lrnm its then inung east. lzdinhurgh; l’ilmhnuse.
I Radio Days ( Pm (\thtttl} Allen. t'S. 1W7) .\lia l5arrnu . Seth ( lt'eetl. Diane Keatnn. 8‘) turns Amiahl} laid-haek tamils reenlleetinns nl the earl} ltMtlsand the gnlden age nl the \\ iieless. l’nt-pnurri nl mndest eharm held tngether h}. an armtul nl reliahle perlnrmanees lrnm nld lags and the Usual flashes nl wit and \s'isdnm. A pleasant time-tiller l'nr hnth direetnr and audience, (llasgnu: (li‘ns\ennr.
I La Regle DU Jeu ( l’( i ) (lean Rennii. l'ianee.1W3”)\laieell)alin.\nia (iiegnr. lean Rennir. 11.? mins. .-\
\\ eelselttl sltnnttttg pat I} lnt‘ the assnttetl hntiigenisie results in a \\ eltet nl inmantie inti igtie and a hint nt tiaged} Suppressed during the war heeause eensnrsnhieeted in its pnrtias al nl l-ieneh mnral degeneratinn. Renniiseelehrated enmeds ean nnss he seen as a ti nimphnl hleak satire and lluid emematie teehiiique
24 the list 13 35 ( )etnher l‘Nl)
FILM
ROBOCOPZ
Robocop 2 (18) (Irvin Kershner. US, 1990) PeterWeller. NancyAllen. Torn Noonan. Dan O'Herlihy. 116 mins. Oh, another sequel? Surface appearances suggest another glossy. caretully prepackaged thriller abounding with special ellects, gunlire and blood. Roboc0p 2 boasts all 01 these box oltice ingredients in abundance. but also. perhaps suprisingly. provides an intelligent and deeply disturbing outlook on future society.
Following the lormat ot the original. Robocop 2 takes place in a 21st century Detroit riven by corporate corruption. Omni Consumer Products. creators of Robocop, are on the verge ol buying out the bankrupt city and replacing it with theirown mammoth metropolis. so the town‘s unscrupulous ruling authorities, seeking to save their burg lrom private enterprise gone wild. enter into negotiations with crime kingpin and man at the people Cain (Tom Noonan), inventor ol the latest paradise drug Nuke. Unfortunately however. OCP manage to get their mitts on Cain lirst and translorm him into Robocop 2, and thus only Peter Weller‘s action hero Robocop stands between them and theirgreedygoals.
Simple enough I suppose, butthere are so many subplots running through the tilm it’s hard to keep track of who‘s
moments like Robocop‘s brielreunion with his wife give way to slapstick when he'stemporarily moditiedto otter therapeutic advice ratherthan shoot back. and there are bouts of philosophising whenthe tin man ponders his conscience.
Certainly. thelilm deliversthe goods in terms of mayhem and suspense. Even hallway through. the body count is staggering. and the bigger budget means a higher degree ol technical gloss than the lirst instalment. What‘s most impressive however. is the film‘s relentless vision at gloom, like a bad dream unlolding into a dreadlul nightmare. Children become crime leaders. Ned-Nazism is on the rise. the preaching Cainin messianic mode is cutdown and resurrected asthe lrighteningly lethal Robocop 2. Everyone takes drugs, the police are on strike oruptotheirnecks in bribery. Society has collapsed. Another sequel yes, but on reflection a highly provocative one. (Dylan Matthew)
From Fri 12 Oct. Glasgow: Cannon. The Forge, Odeon, Salon. Edinburgh: Odeon, UCI. Central: Caledonian. Regal. Strathclyde: Kelburne, Odeon Ayr, Odeon Hamilton, La Scala, UCI Clydebank, UCl East Kilbride.
Izdinhtirgh: l‘tllttltttllse.
I Repulsiont lhl t anan l’nlanski. l ls. 1W6 l ( ‘athertne l)eneu\ e. laii l lendi} . .lnhn l‘t'.l\el'. lll.‘ ttlllls. l.elt nn hei nu n in her sister's llat tni a leu dass. asesuall} repressedsnung \sniiiangiadualh deterinratestnxsaids enmplete mental hieakdnmi l’nlanslki‘s lirst l nglish language mnx ie lettldllls nne nt his hest.a genuinely disttiihmg esplniatinn nl intense paiaiinia andelaiistinphnluathat untlinehingls pieks at the audienee's
deepest netitnses (ilasgnu (il’l.
IThe Return OlTheJedi l l)(ll(l{lelt.tttl .\lartiuand. l '8. 1053) .\ldt‘ls l lamtll. ('aiite l'lsltet. llariisnn l-nrd 13 l mins
’1 he thud ehaptei tn the .\ttir ll'an saga sees I like 8k} \sallkei leat n the seeietsnl his lamils tiee. helnie getting \lllels in tna litial shindig hetxseen ( inntl arid l‘ \ ll l'\pansi\eaiidexpensixespeeialetleets malsethissplendidentertainment (ilasgtm ( annnn .\auehiehall Street.
I Return OlThe SecaucusSevent is illnhn has les. l ‘8. l‘Nll .\lails .\i'iintt. .\laggie
t (‘ntisineatr lnhnSaflu llllliiiins .\
ginup nt gnnd triends \s lin shared the tadieal Sixties enllege lite get tngethei hit a \\ eelsend sears latei , and lind nut the ditleient tliieetinns thes has e eaeh suite heen lnllnxsing l' \eellent seitpt h\ .\a\ le's ptm ets this ltm slittdget eliti\ that \\as mnie ni less remade a enuple nl \eai slatei (\s tthntit etedtt l as [he ll’tgl lit/l l1dmhutgh l 'iii\eisit\ lilm .\neiets
I Robocop 21l\tllr\inlseishnei.1\. l‘l‘llll l’etei \\ ellei . \ane\ .\llen. I )an (H leililiv lnm .\nnnan llh mins See re\ le\\ (ll.is_t1tt\\j ('aniinn lhe l'nige. ()tlenn. .\alnn. l'dinhtiigh lldenn. l 'l 'l (‘ential (alednnian. Reeal .\tiathelnle Kell‘ttt'ne. ( )denn .>\_\ t . ( )denn l lamiltnn. la Seala. ll ‘1 ( ‘lsdel‘anlel ( l last lsilhiide
I Rosalie Goes Shopping. tsitt’t-tex Aldrin. l’l anee. l‘lh‘ll \laiieaiine Sagelueeht. lliad l )a\is. ludge ls’einhnltl *H mins l hiid and appaienth tiital lllltl ill the l’eies .\ldnn .\laitaitne .\agehieeht series \sliieli alsn hnasts \Itgtirhaht aiid Hirer/trill tile. has the lielt_\ lit1.'t\'r.iiznltnti it et’etlll e;tt‘tl sptee as she it tes li l U \pe \\ tllt the temptatiniis nt the States ennsumei paradise lit the same spit it she gets herselt a enmputei and lt.tel\s iiitn a lneal hank tneleai het dehts lhis ma\ he \t‘lll last ehant e tn eateh the eelehiatetl team in aetinn l'dinhtirgh: (' mien
I Rouge 1 1;) tStanles kuatn. l lnng lsnng. UV) .\nita .\lui ‘l‘ nuns .~\ (‘hiiiese ghr ist stni_\ that leaps hetueen lllk
.‘lls and piesent da_\ llttlt‘J lslnng l \tn
lns eis lttllill their paet tn meet again <ll se';ti's;tlte'i their deaths iii llell. thus slimsiiig that lx'xsain can't think muelwt llniig lsnng, Stslisli ln‘,e stni\ \stth ttjteat petlnrmanee h}. .\ltii. l‘tlllll‘tlltllt. l'tlmhnuse
I Rumble FlSht lSIll‘ianei‘ l Hill (‘nppnla. [8. WM?) .\lielxex Rntiil.e. Dennis l lnppei .\latt l>tllnn ‘l-lllllll\ l'.leetitl_\tiigespiesstnnist ‘.l\ll.tl\31l.tee this tites nt passage pat ahle ahnut the need in tnige nne'snuii ltlelllll\ andttie alienatinniteanhimg lntenseandsnlish l'dinhuigh lilmhnuse
I Santa Sangret lt‘l(.'\lt‘}.ttttlttt ,ltltlt‘ttmssls}. . ll.tl\ \lL'\lk'll. l‘lh‘ll ‘\\el .ltttltttti\tsl\\.lllitltettlittettttdills Stnelnsell llhlltitts .\ltei lfi}ettt\' illl\L'llLk' liniii the tiliii seene. .lltthtl musk} remainsniie nt the tev. gentimt enigmasnt \sniltleiiiema llisinstanth ieengnisahle st_\legiaeesthislatest leattiie.at}phal mi\ttiie nl tantass and iealit_\ .*\f.'_.till\l tne l‘ilk'htlltiliml at‘iietts. \tttllltjl’ellfl witnessesliniiitsingexeiitsuhenhis stinngniati tathei etlltlll‘tll\\tlleltle attet disiitetiiheiingthe lint‘smnther
( 'nmmttted lni Illseais. he ex eiitu.tll\ escapes. with in ltiid the niateinalhnnds stillstiniig.\lii\iiighimtnltillanjt \snman helintlsatttat‘tne lntlninush'slilmis deliheiatle‘. tlistttihing and ptn'~.ne.tti\ e. htit its \ tsual tinagitiatinn ttt.tl\e\ ll a landmaik ineinematiesurrealism l'diiihurgh.(amen.
I SilentScreamt lh‘l t l )a\id l laxmaii. l'ls'. l‘Wlll lain t ilen. .-\tllle Kirsten. lnin \\atsnii.,lnhii .\luitagh. hhttllttsSee pit-new. (ilasgnu ( il-'l lzdinhurgh. (amen.
I SirDenis Forman Lecture t tilltmtttgllte ptihlieatinn nl his .iiitnhingiapht .antnl slittini. the l)eput\ ('haiiman nt the (lianadaginupandasignilieant liguiein the reeent histh nt llritish lilm and lele\l\lltll.\kllltJHeitl.tll\ellltlletl//HH' I/it' [inn/w; lit/s ll'nri. telleetinghis espeiieneesasthe(hairmannl the iudging panel tni this sear'spiestigtntis liteiar} ;t\\ttttl lzdinhuigh. l‘lltltltttlINe
I Spaced invaders t t’( t l ( t’ainek Read lnhnsnn. 1‘5. l‘Nllt l)nuglasll.tit. Rnsal l)ann. .-\iiana Riehards ‘llltlttlts Hit the
Sllth anniseisars nl ( lisnn \\ elles' nitgtiial
ll tir ( )_I [lie ll'w/t/x radin hrnadeast agaiig nl euddls aliens land nit l'ai tli tn hegin their tillk'\l lnr uniltl dnmtnatinn lrnin the unhkelx hase nl llig llean. llliiinis ()nls the inter\ent1nn nl Sherill Hart and euimudgennlx laimei Rnsal l)aiinean
‘J