(9.3.3.
AR
FILM INDEX
BACARDI BLACK
I FortreeuIS) (Stuart Gordon. US. 1992) Christopher Lambert. Kurtwood Smith. Loryn Locklin. In a harsh America of the future. a former Black Beret and his wife are thrown into a futuristic maximum security prison for attempting to have a second child. Stuart (Reanr’maror) Gordon delivers an entertaining prison-break drama with sci-fr trappings. great sets. deliciously overcooked acting and a satisfying array of fire-power. Great fun. and a dead cert on video. Glasgow: Odeon. Edinburgh: Odeon. UCI.
I Four Weddings And A Pineal (15) (Mike Newell. UK. 1993) Hugh Grant. Andie MacDowell. Kristin Scott Thomas. 117 mins. Sweet but stuffy Englishman Charlie (Grant) is convinced that he is not the marrying sort. but when he keeps meeting the alluring American Carrie (MacDowell) at an assortment ofchurch ceremonies. he begins to doubt his resolve. The sort ofcharming British comedy that was destined to storm America. but which adds a little grit to the glamour of the pretty settings thanks to Richard (Black-adder) Curtis's script. General release.
I Free Willy (U) (Simon Wincer. US. 1993) Jason James Richter. Lori Petty. Michael Madsen. 112 mins. After moving from one set of foster parents to another. young Jesse finds himself helping out with chores at a marine amusement park where Willy the orca whale has also been separated from his family. Land and sea rebels become soul-mates. and the plot heads down a distinctly ET-like path. Easy-to-grasp adventure for the kids; a little too simplistic and manipulative for a more sophisticated audience. Strathclyde: Paisley Arts Centre.
I The General (U) (Buster Keaton/Clyde Bnickman. US. 1926) Buster Keaton. Marion Mack. Glen Cavander. 80 mins. An engine driver tries to get behind the Southern lines during the American Civil War in order to rescue a train. A silent masterpiece. containing some stunts that approach the realm of genius. Edinburgh: Filmhouse.
I The Getaway (18) (Roger Donaldson. US. 1994) Kim Basinger. Alec Baldwin. Michael Madsen. 115 mins. Much more of a star vehicle than the tougher Peckinpah original. this bank- robeny-revenge-chase could do well to cut away from the leads and focus more on the weirdo subplot following double-crossed baddie Michael Madsen and loopy hostage Jennifer Tilly. The plot has interesting elements. but it‘s all a bit to glossy for a hard crime thriller. Glasgow: MGMs.
I Getting Even With Bad (PG) (Howard Deutch. US. 1994) Macaulay Culkin. Ted Danson. Glenne Headley. 109 mins. Danson is a small- time crook doing one last job to help set him up in the straight world; Culkin is his estranged son who rumbles his dad's plan. takes the loot and blackmails him into doing the bonding good- time thing. A hotch-potch movie. stirring elements of caper. heist. romance and travelogue into something that is not the sum of its parts. The gags are set up well. but fall to the obvious at the punchline. See review. General release.
I Go Fish(18) (Rose Troche. US. 1993) Guinevere Turner. V.S. Brodie. Anastasia Sharp. 89 mins. Twentysomething would-be author Max is pushed by her wise owl flatmate towards vet's assistant Ely. but the two girls‘ shyness could prove an unassailable obstacle. Troche‘s film bustles with visual invention. deliciously catty dialogue and natural performances. These are people. not issues. and even if Spike Lee was a romantic and a lesbian. he couldn‘t make a movie as fresh. funny and openly entertaining as this. Glasgow: GFT. Edinburgh: Cameo.
I Bolder: 8:11:08) (Bigas Luna. Spain. 1993) Javier Bardem. Maria De Medeiros. Maribel Verdu. 95 mins. Benito Gonzales has three passions: fried eggs. building skyscrapers and having sex. When he marries for money. it seems that all his dreams could come true. especially when he's able to see his former girlfriend on the side. A sleazy take on lust and Spain's nouveau riche from the director of Jamon Jamon. Edinbu h: Filmhouse. IlIenrszortnItOtA IKIIIer(18)(John McNaughton. US. 1986) Michael Rooker. Tom Towles. Tracey Arnold. 80 mins. Based loosely on the true life (and subsequently recanted) confessions of Henry Lee Lucas. McNaughton's exemplary film is a harrowing account of an amoral mass murderer. Scenes of rape and mutilation transcend the usual titillation of the genre and force the audience to question the use of murder as entertainment. Simultaneously one of the most important releases of recent years. and one recommended with caution. Edinburgh: Cameo.
I Itiflh Heels (15) (Pedro Almodovar. Spain. 1991) Victoria Abril. Miguel Bose. Marisa Paredes. 115 mins. More melodramatic frolics
from Spain'swfr_nest. this time in the shape of a
murderous triangle between a mother. her daughter and the latter‘s husband. While Almodovar isn't quite at his best. Abril excels as the TV news presenter who admits on air to her hubby's killing. Glasgow: GFT.
I The House Of The Spirits ( 15) (Bille August. Germany/Portugal. 1993) Meryl Streep. Jeremy Irons. Glenn Close. 138 mins. Disappointineg messy adaptation of Isabel Allende‘s novel retains the domestic melodrama and South American political content». btrt loses most of the mysticism that gave the book its special appeal. Performances are varied (and often embarrassingly amusing). the story a little overcooked. Central: MacRobert.
I How To Be A Woman And Ilot Die In The Attempt (15) (Ana Belen. Spain. 1991) Carmen Maura. Antonio Resines. 89 mins. Carmen is married to a typically macho Spaniard. and she's having troublejuggling work and home life. ’l‘hankfully. Maura's performance has a crucial sense of versimilitude that prevents the message- laden script from becoming heavy-handed. ller seen-it-all toughness. underpinned by trademark vulnerability. pretty much sums tip this character-driven drama. See review. Glasgow: Gl’f.
I In The Name or The Father ( 15) (Jim Sheridan. US/Eire. 1993) Daniel Day-1.ewis. Pete Postlethwaite. John Lynch. 133 mins. Writer-director Sheridan manipulates the facts concerning the wrongful arrest and eventual acquittal of Gerry (‘0nlon. one of the Guildford Four; but the deep. disturbing truths of this miscarriage ofjustice remain constant. Day- Lewis and Postlethwaite give career-best performances as Gerry and G triseppe (‘onlon. the father and son whose relationship provides the emotional core of the movie. Brave. powerful stuff. Edinburgh: Cameo.
I Innocent Blood ( 15) (John Landis. (’8. 1992) Anne Parillaud. Anthony LaPaglia. Robert Loggia. 113 mins. ()r a French Vampire In Pittsburgh. Sexy vampire Marie (Nikiru's Parillaud) is environmentally aware enough just to feast on bad guys. btrt this has its drawbacks when a new Mafia member of the Undead decides that now he's more powerful than ever. Chic and powered by Parillaud's sexual energy. this still isn't one of Landis's best moments. Glasgow: Grosvenor.
I The Joy Luck Club (15) (Wayne Wang. US. 1993) Tsai Chin. Ming-Na Wen. Tamlyn 'l'omita. 139 mins. Intertwining tales of four Chinese women and their Chinese-American daughters which use elements of ethnicity and the immigrant experience to highlight the more universal themes of mother/daughter relationships. Above all. it is a very Hollywood- style movie. attempting to manipulate emotions and downplay much of the insight of Amy 'I‘an’s novel. but it will strike a chord with many in the audience. and not just the women. Central: MacRobert.
I Jurassic Park (PG) (Steven Spielberg. US. 1993) Sam Neill. Laura Dem. Jeff Goldblurn. A group of scientists are invited to give their approval to a theme park filled with genetically engineered dinosaurs. btrt the giant reptiles are soon running amok. Unsurpassed computer effects ensure that the dinosaurs themselves are terrifyineg believable (moreso than the PG certificate would suggest). btrt by the halfway point. it‘s more or less a chase movie with superior technology. Glasgow: Odeon. Edinburgh: Cameo. Strathclyde: LVCI East Kilbride.
I Kalilomia (l8) (Dominic Sena. US. 1993) Brad Pitt. Juliette Lewis. David Duchovny. Michelle Forbes. 118 mins. Take a car. a writer of a thesis. a photographer. a white trash woman- child and a murderous psycho. and put them on a road trip to the sites of various serial killings. The result is not your average serial killer movie. but a tight and stylish character-driven piece that plays with our fascination for killers while delivering some slap-bang gore. Fife: Adam Smith. I The Last Seduction ( 15) (John Dahl. US. 1993) Linda Fiorentino. Peter Berg. Bill Pullman. 110 mins. After double-crossing her husband. stealing some drugs sale cash and holing up in a small town. Grade ‘A' bitch Bridget Gregory uses her sexual charms to ltrre the naive Mike Swale into a plan that will free her from her troubles. No one handles polished pulp like John (Red Rock Wes!) Dahl. and here he‘s got the added advantage of a deliciously nasty performance from Linda Frorentino as a femme who‘s more fatale than most. See preview. Edinburgh: Cameo.
I The leopard (15) (Ltrchino Visconli. Italy. 1963) Burt Lancaster. Claudia Cardinale. Alain Delon. 205 mins. Characteristically lavish Visconti adapatation of Giuseppe De Lampedusa's classic novel of the Italian Risorgimento has a splendid Burt Lancaster as
.spnnsnred by BACARDI BLACK
the Prince of Salina reflecting mournfully on the rise of the bourgeoisie when his nephew Delon marries merchant's daughter Cardinale. Undeniany overlong and rather slow-moving. Visconti's handling of the epic final ball sequence is a further demonstration of his mastery of composition for the wide screen and his later conception of film-as-opera. Glasgow: GI-‘l’.
I life Is Sweet (15) (Mike Leigh. UK. 1991) Alison Steadrnan. Jim Broadbent. Jane Horrocks. (‘laire Skinner. Timothy Spall. David Thewlis. 102 mins. Domestic cringe-drama which centres on a family with mismatched twin daughters (llorrocks and Skinner). an inefficient caterer dad (Broadbent) and a generous-spirited mum (Steadrnan). Like all Leigh‘s work. the drama is laced with a bleak. almost cruel humour. btrt it's enjoyable. truthful and surprisingly optimistic. Edinburgh: Filmhouse. I like Water For Chocolate (IS) (Alfonso Arau. Mexico. 1991) Marco Leonardi. Lirmi Cavazos. Regina 'l'orne. 114 mins. At the end of the 19th century. Mexico is caught tip in the Revolution. Against this backdrop. Laura Esquival's novel and this film adaptation by Arau depict one woman‘s struggle for freedom from tradition. A classy meltxlrama that llits from comedy to tragedy to culinary excess. raising the new generation of Mexican frlmmaking talent to truly international levels. Edinburgh: Cameo.
I little Buddha (PG) (Bernardo Bertolucci. l’S/l.lK/I"r'ance. 1993) Keanu Reeves. Ying Ruocheng. Alex Wiescndanger. 120 mins. A Seattle moppet may or may not be the reincarnation of a recently deceased Tibetan monk. so he and dad go to Bhutan where he‘s given a potted history of Buddhism. The story of Siddartha is easily the best section. with Vittorio Storaro‘s glorious cinematography to commend it. btrt elsewhere the pace is doggedly slow. the ecu-friendly sentiments hazy. and the lecturing (one like a school lesson. Bertolucci's greatest folly. Glasgow: Gl’l’. Edinburgh: Cameo.
I love And Human Remains ( 18) (Denys Ar‘cand. Canada. 1994) Thomas Gibson. Ruth Marshall. (‘ameron Bancroft. 100 mins. Based on Brad Fraser's play. Arcand's latest grasps the original's any style ofdialogue and twin narrative prongs of sexual uncertainty and ongoing serial killings. While the two plots may not always sit comfortably together. the thematic unity — of the dangers of love and tum-on of murder — is perfectly realised for a 90s audience. Sharp ensemble playing rounds off a clever and symbolic piece. Glasgow: GFT. Edinburgh: Cameo.
I lovers ( 18) (Vicente Aranda. Spain. 1991) Victoria Abril. Jorge Sanz. Maribel Verdu. 103 mins. In Franco's Spain of the mid-50s. a young man completes his military service and plans to wed his fiance. While looking for work. he shares a flat with a glamorous older woman (Abril) who offers him more than a roof over his head. Abril carries the movie. which has a straight melodrama plotline that Almodovar would have camped up to high heaven. but it's still a treat of truly trashy proportions. Glasgow: GFT.
I The Magnificent Merton: (PG) (Orson Welles. US. 1942) Joseph Cotton. Dolores Costello. Agnes Moorehead. 88 mins. The decline and fall of an American family told when Welles was at the peak of his cinematic power. Even studio tinkering can't lessen its impact. as the director takes an ambivolent view on how American life was changed by the industrial age. Unrnissable. given the current re- assessment of Welles's talent as a filmmaker. Glasgow: GFT.
I Maverick (PG) (Richard Donner. US. 1994) Mel Gibson. Jodie Foster. James Garner. 127 mins. Romantic gambler Bret Maverick has got to get up a big enough pot to enter a poker game with a stake of half a million dollars. but encounters various loose and at times unconnected adventures on the way. A card-con movie with western trappings. Maverick showcases the ‘unpredictable' quirks of Gibson's screen persona. the kind of thing that he gives a lunatic edge in the Lethal Weapon series. Rollicking. pie-packaged entertainment that slips into the shambolic. General release.
I Mean Streetx(l8) (Martin Scorsese. US. 1973) Harvey Keitel. Robert de Niro. David Proval. 110 mins. Tony's Bar is the base for four young Italian-Americans. whose increasineg illegal activities lead to tragedy. Vividly observed character study which combines breathtaking technique with a pervasive sense of corruption. Keitel and de Niro give of their very best. Edinburgh: Cameo.
I Mr: Douhttlre (PG) (Chris Columbus. US. 1993) Robin Williams. Sally Field. Pierce Brosnan. 125 mins. Separated from his wife and kids. out-of-work voice actor Daniel Hillard (Williams) dons make-up and body-padding to
become a sexagenarian nanny. Another top- notch comic perfonriance by Williams. who makes the most of his split personality zest without becoming overly sentimental. Hugely enjoyable and well pitched with gags for the whole audience. Glasgow: Odeon. Borders: Pavilion. Strathclyde: WMR. All UCls.
I My Girl 2 (PG) (Iloward Zieff. US. 1993) Anna Chlumsky. Austin O'Brien. Dan Aykroyd. Jamie Lee Curtis. 98 mins. While off at her uncle‘s for the summer. Vada (Chlumsky) researches the life of her deceased mother for a school project. This sequel to 1992's surprise hit opens the story out a little and still manages to be sweetly nostalgic and painfully honest - in a young teen sense — at the same time. Not to everyone‘s taste. but an uncommonly touching coming-of-age story. General release.
I North (PG) (Rob Reiner. US. 1994) Elijah Wood. Jon Lovitz. Bruce Willis. 87 mins. Universally popular. but ignored by his folks. North goes out in search of new parents. but time is running out as he travels the world: better find a new set soon. or it's the orphanage. And then there's the pressure from the kids of the world who are enjoying the new-found power his antics have given them. A constantly inventive fable that shows respect for all ages of its audience. Rob Reiner's only lets itself down by committing a cardinal sin in the last few minutes. See review. Glasgow: ()deon. MGM Parkhead. Edinburgh: Odeon. UCl. Strathclyde: ()deon Hamilton. UCls.
I Orlando (PG) (Sally Potter. UK. 1992) Tilda Swinton. Billy Zane. Quentin Crisp. 92 mins. A male Elizabethan courtier begins ajourney of self-discovery that involves four centuries and a sex change. Swinton's simple but unique beauty captures the androgyny of the perfect Iiveryman/woman. while director Potter creates from Virginia Woolf‘s novel a humorous and visually splendid strccession of episodes that is a constant joy to watch. At last. a literary film rather than a literature substitute. Edinburgh: Filmhouse.
I Philadelphia ( l 2) (Jonathan Demme. US. 1993) Tom Hanks. Denzel Washington. Jason Robards. 125 mins. A lawyer takes his former employers to court. convinced that he has been sacked because he is suffering from AIDS. Demme's film goes as far as any mainstream Hollywood movie on this subject could in the current climate. but for all its compromises. it should be applauded for avoiding any notion of manipulative death-bed sensationalism. Hanks. for once. is allowed to break free from lightweight comic roles. and delivers a moving performance. Strathclyde: UCI Clydebank.
I The Piano (15) (Jane Campion. Australia/New Zealand. 1993) Holly Hunter. Sam Neill. Harvey Keitel. 120 mins. Jane Campion's masterpiece follows mute Scotswoman Ada (Hunter) as she travels to 19th century New Zealand with her piano and daughter to enter into an arranged marriage. Soon she begins a passionate and erotic affair with her illiterate neighbour as the means of regaining her treasured instrument. lmpeccable performances lift this highly charged piece to the realms of classic cinema. undoubtedly one of the best films of the 90s. Glasgow: MGM Parkhead. Edinburgh: Filmhouse.
I Reality Bites ( 12) (Ben Stiller. US. 1994) Winona Ryder. Ethan Hawke. Ben Stiller. 99 mins. Soon after graduation. Lelaina (Ryder) loses her TV job (and the chance to complete her autobiographical documentary). and so has to buy food for her Generation X flatmates on the credit card daddy gave her. Self-indulgent. middle-class American problems that are hard to relate to and impossible to sympathise with fill this movie. If this is reality. it sucks rather than bites. Glasgow: MGM Film Centre.
I Rename III (12) (Penny Marshall. US. 1994) Danny De Vito. Gregory Hines. Marky Mark. 129 mins. Unemployed advertising copy- writer Bill Rago (De Vito) is hired by the army to teach English to a bunch of recruits about to flunk their military training. Soon they're doing a rap Hamlet and Bill's becoming a nicer human being. Dead Poets err‘ery in army fatigues. but with characters that eventually throw off their stereotypical shackles. this is bogged down by self-indulgent morality playing. Glasgow: Odeon. Edinburgh: Odeon. UCI.
I Reservoir Dogs (18) (Quentin Tarantino. US. 1992) Harvey Keite1.Trm Roth. Michael Madsen. 100 mins. A gang of hoods. known only to each other by colour-coded nicknames. meets at an abandoned warehouse to figure how out their rigorously planned heist went so drastically wrong. The best debut in years from writer-director Tarantino. whose stylish violence seduces the audience into complicity. Brilliant in every sense of the word. Glasgow: Odeon. Edinburgh: Odeon. Central: MacRobert. Strathclyde: Odeons. UCl East Kilbride.
30 The List 29 July-1 I August 1994