BACARDI BLACK
iNDEXFnM
xpool on old horror ttltIVle hax created a hieed of Rocky Horror crazies. and packx them In at late xhowx eyeiyw here. the film hax itx mornentx. and (‘ur'r y Ix xpleiididly camp ax the hrxextral l‘Iank N. l‘uiter. (‘entIal: MacRoheit. I Romeo Is Bleeding ( lSl (l’ett‘t .ytc-Ilak. t’S. WWI (‘Iary ()ldmaii. l.ena ()lin. Annalwlla Scioiia. Juliette l.ew Ix. (‘orrupt cop Jack (irinraldr it )ldmanI xellx into on people III the \Vitnexx l’rotection Programme to the moh. bagging xome e\tia caxh on the way But the talilex are turned when ltixt diawx hint lIoin hoth w it'e (ScroiraI and nirxtiexx (l.ew er to deadly female axxaxxin (()linI Blacker thaii black comedy. with lliItarn'x bad boy olonIley enon mg hrmxell, (ilaxgow: (il’l I Bouiin 1( l3) (llnoyukr Krtakuho. Japan. (0‘)] I '78 niinx llaxed on a xtoiy hy ()Iomo Katxuhrio. writer of the acclaimed :lerIr erIex. thix‘ lacks the groundbreaking animation aplendour ol‘ that movie. The xton letlltllC'x a bed hat w ill cook. feed. waxh. C\CIL‘I\‘C. entertain Ind toilet It.x elderly patient. but a xudden rIall'urIctioii hrrngs about the obligatory merging .It‘ llexlt and technology (‘heeI the wiirrkly granddad hero. lidirihurgh: (‘ameo I Scum ( l8) (Alan Clarke. l'K, I‘I7SI .\ rare opportunity indeed to we the 'l‘\' \c'iinIiI of Roy .‘yliiiton’x' fictionalixed C\p()xc of life iii a hoix'tal. Produced for the I’IIII' For 'Iiului' xeiiex. It w ax‘ refused tranxrnix‘x'ron hy the BBC ax being too yiolent (and. pcihapx. too anti-authorrty"I Rougher than the subsequent mm ie yeixion. Sat l7 only. lidinhurgh: l‘ilmhouxe. I Shadowlands (l’( E) (Richard Attenhoiough. 1S. 1093) Anthony llopkirrx'. Debra Winger. Joey Slanclo. l3] irrinx'. The true xtory of Oxford don and children'x novelrxt (TS. l.ew Ix w ho. late in life. married leiny American dIy'orcce Joy (ii‘ex'liam. only to lose her to canch a few years later. Superlatiye acting from all concerned. with llopkinx' opening hix emotron’x more thaii Irx‘ual and .-\ttenhoiorrgh xhowing that he can work effectively on a detailed. intimate canyax'. life: New l’ictur'e llouxe. Rohiii'x‘. I Shopping ( l8) (l’aul .'\tl(lCt'\'tltl. l'lx'. l‘)‘)-lI Sadie lii'ox‘t. Jude Law. Sean l’eItwee. l()7 minx. Just out ol'jail. Billy meets up with girlfriend Jo and rexurnex‘ joytidittg and tam-raiding -- crashing into shop windows arid helping hirirxell to the goods. lligh-x'pced police chaxex' and hi'ushex~ with local crooks keep up the \‘ltththC quota in .»\nderx‘on'x xuccex‘x’l'ul attempt to hit the Britix‘h MTV generation of t‘ilirrgoeix with xliclx. commercial tare. (ilaxgow: (il’l‘. (it'ti\‘\'t‘l10l. lidinhurgh: lilltltlltltlsc, I Short Cuts ( l8) (Robert Altman. l'S. l‘)‘).lI Andie MacDowell. 'l’iin Rohhinx. l.in 'l'omlin. Tom Waits. et al. lh‘7 mInx Long and ahxorhing. Altman‘s patchwork approach x'hil'ts Raymond (‘arver's short stories to l.ox Angelex. a city socially and geologically on the point of falling apart. The storiex L‘ttix‘s oyeI. character'x liy'ex‘ iuh together. threads are picked up alter i‘eceeding for a while -- thix~ is elax'x'y xoap opera at itx hext. with (law lexx' acting and conx'trIIction. (ilax‘gow: (ill. I Sirens ( 15) (John l)uigan. Aux. l‘)‘)-1Illugh (irant. Tara l-‘it/geral. Sam Neill. lille
2' i : i 3 E. i i S e i 2 5 :
Darkness comes of
Slacl’heixori 0-1 rirrnx. (‘hi'ix‘tian morality nIeetx bohemian exprexxron. linglixh prix'x‘inesx' meetx .-\Irxtralian freedom. ax a newly arrived linglixh curate and hix wile yixrt the home of ‘xc;Iiidalorrx“ painter Norriiair landx‘ay. Hugh (ilillll Ix hix humhling x'creen x'ell'. 'l‘ara liit/gerald perchex on the edge ot‘ a x‘exual chax‘m ax hix w rte. xuperinleel lille Macl’her'x‘on hriirgx an eaxy. tltlSL‘llI‘tlthlOttS sexuality to it all. liairly dull. really. but the nude tahleau\ add yrxual appeal. We may not know much about art. but we know what we like. liorderx: Roxy.
I Slacker ( IS I (Richard lanklater. l'S. l‘)‘)l I ()y er ltfl) ‘l'exanx'. I)? rninx. l'nclaxsrl‘iahle piece or Inderwndent American moy'remaking which docxn't hay e a plot ax xiich; inxtead it provides a xnapxliot ot‘ o\ er l(I() ‘xlackei'x' —- young. happy-
go lucky dirt'teix -~ ax they get through their daily
lry-ex_ Structured ax a monumental relay (each character hrietly appeaix. meets the next. and xo oIII. it hax a looxe. e\rX'i'rinental. alrnox't rally format that you'll either loye or hate. .-\ \‘lltL‘lllL‘ cult hIt. lidinhuigh: l‘lltlllltllt\t‘. I The Slingshot (. I II (ARC Sandgren. Sweden. l‘WiI Jexpci Salcn. Stellan Skaixgaid. llaxia l-Iydman. ltXJniinx In the l‘lltlx. a ll year-old Swede l\' hullied hy all and xundry due to hix mother \ religion (Rthx‘liltl Jew). his tather'x politicx (SocialrxtI and hix own diminutive xi/e. liut at leaxt hix home made slingshots (knocked together from a couple ol condomx and a hit ot~ w IieI are x'ellrng like hotcakex ~ until hix mother Interyencx. A l'unny and unxentiincnt.’rl portrayal of the youthful pIIixuit oi L‘\lX'llt'llCC. lidinhuigh: (Kitttco. I Sonatine ( lh‘) (‘l'akexhi Kitano. Japan. 1003) ‘lleat' 'l'aketh. .-\\ a Kokuriiai. 'l‘etxu \Vatanahe. ‘ll inrnx .\ hrtinan ix xent to ( )krnawa. :Ix‘tenx'ihly to xoit out a gang war. hut he xoori realisz he'x heing xet up lot a hit. \loie Irinoyatiye than 'l‘aiantino. more controlled than Woo. 'l'akex'hi rewritex the hook on policier tL‘\‘lxltIlll\'tll with thix challenging. lliitatioux'. highly individual lilthC. liile: :\darn Smith. I Snow White and the Seven Dwarfs It ' I (Walt Dixnc). l S. WWI With the y'oicex of Adriana (‘axelottL llarry Stockwell. Lucille La Verne. 83 IlllllN. ()ne of the moxt enchanting and influential ol anitnated leaturex. The central character is a mile wet but the indiyidualistic dwarfs. inemorahle xongx. xIIperhly crafted hackdropx and characteix make this an ex'x‘ential cinematic :\peiience. Now iextored. frame by frame. with the colour ax xhaip ax ey'eI. (icner‘al release. I 32 Short Films About Glenn Gould It'I l'rancoix~ (iirard. (‘anada. WWI (‘olm lieoic. Derek KClllVUt'fl. Katya l.adan. ()3 minx‘. l’ai'tly; 'Iornagc to the 33 x'ectronx' ot’ Bach's (ioldherg Variationx‘. partly a radical approach to xcreen lIiogIaphy. thIx l'IliIi tellx the Me xtory ot piano genIIrx (ilenn (ioIild without iexoitiiig to cliched archiye lootage. 'l‘he actIiig ix inperh. the xtructuie lachnatIrIg. the muxic ax y rlrrant ax eyei Rarely hax the act ol' artixtIc creation heen piexented on xcieen with xuch cieatry ll_\. lidinhuigh: (‘amco I Third Bank Of The River I IS! ( .‘x‘etxon l’eteiia dox Santox. lira/ll. I‘NJI ‘).\' Ininx. :\ illit/llltltl couple dixcoy er that their xi\-_\eai-old daughter
by BACARDI BLACK.
sponsored
can peitoim mir'aclex_ hut iiiix oiiiy lIIirigx itcr to the attention ot‘ local gangxterx'. Slagic realixnr rneetx urhan drama in thix xocial morality tale lIy yeteian director dox Sairdox‘. Latin American l-Ilm l’t‘xlhfll. (ilaxgow: (ill.
I This Boy's lite ( IS I ( Michael ('aton Joriex. l'S. l‘)‘).lI Robert De .\'rio. lillen liarkrn. l.eonardo l)i(‘apiro. l|5 iIiiiIx. The lon (min llrmhuin diIectx Hollywood inpeixtaix III 'l'ohrax Woll't'x autohiogiaphical tale or growing tip in 50x .'\lllCllc;t with a \ rolent xtept'.‘ithei. Young l)i('apiro \iItIially actx l)e .\iio oll xciecn In tlIIx cnioyalrle. It a little predictahle. coining or age tale. (ilaxgow' (iroxyenor
I Thumbelina It'IIIIIIn tIluIII. t‘.\'. III‘IRI .-\nirnatoi llluth corriex cloxe to riyallrng l)Ixirey with thix charming laiiy talc tilled wrtlr little l'olk. pIIncex. caxy to lollow rnexxagex and a “any \lanrlow onindtiack Young kidx will loyc ll and exert the cynically hard hearted may xollcn. (ilaxgow, .\l(I.\lx Stiathclydc: ('annon. ()chIII .'\_\I, :\II I (‘lx
I True Lies ( lSI IJamex ('ameion. l'S. l‘l‘liI :\ltlrll\l Schwaixencggei. Jainic 1 cc (‘uItix. loin .'\ltlttl'.l I ll Iiiinx, '\lll|t‘ inaxIIIreradcx ax .I computer xalexirran to keep long inlthing xpouxe ('uItix in the dark ahout hix real rolI in the III tech xpy world At a price tag ot oyer Sltltlrn. (‘anicron'x attempt to iedel'ine the y ixual poxxrlirlrtrex ol the action genre ix thrilling. dixappornting and e\axpciating in almoxt equal ineaxuiex. hut at lcaxt the money 'x up there on the xcieen Dodgy \altie tudgeiirentx‘. hiillrant
w holexale dextiuctron. (iencial ieleaxc
I True Romance ( lSI I'l‘oiiy Scott. I S. 100M (‘hiixtian Slatci. l’atiicia :\rquctte. llerinix llI‘l‘l‘ei. ll‘) tlllll\, (’oinrc hookxtoie axxixtant (ilaicncc meetx. xlecpx w ItlI and nIarIch noy ice hooker :\|ahama within a matter ol lroIiIx, then the loy eluidx lInd thcinxcl\ex on the run w ith an accidentally xtolen caxe olcocaine limelight xtealing cameox and writer Quentin laiaiitrno'x \eihal xet pIeccx l'iie thix e\cellent inoy re. the epitome ol drxpoxalrle pop culture tor the laxt lood geneiatron, lidinhuigh: ()decn l ite' Rol‘IiI‘x.
I LBS Visiteurs i l’( i (Jean \lai ic l’oiIe. l't.ttlcC. I‘Nii (‘hirxtian (‘la\ Iei. Jcair Retro. \alciie l.eiIieicier. 105 iIiiiIx. Monty Python ineetx l)on Quiwte ax a llth century knight and hix xiiIelly xciyarit are pitched lorward in time to modern day l’l;ltlcC alter diInking a magic potion. .‘\n enroyahle hlend ot lriil't‘ooneiy. action. ltllll.l|l\k' and xatire. it hax hioken all I iench hox otlice iecotdx ol the laxt decade (ilaxgow' (il'l lidinhuigh: l'ilmhouxe.
I Wayne's World (l’( i I ( l’ciielope Spheer ix. l ‘S. l‘)‘)l I \lIke .\lyeix. l)aiia ('ai\cy. lx’oli l.owe. 'l’ia (‘aiieic ‘5 nrinx 'lwo lreayy metal Ilorkx lnt the big time when their puhlrc accexx calrlc xhow Ix xtIappcd tip hy a greedy l'\' e\ec for national pIiIrIetiine. (‘ianimed l'ull ol Al'\' and lilin paxtichex. thle S phenomenon hax far more hitx than IIIIxxex, while Wayne and (iaith ieyel in an c\eII wackier \ocahulary than cinematic lIrxt cotrxinx llrll and led. l‘hey'ye xhot. they "\I' xcoicdl lidiIIhIiIgli: (‘anieo
I What's Eating Gilbert Grape? I t: I I t ,(lxxL‘ llallxtiom. l'S. l‘J‘Ul Johnny l)epp. Juliette l.c\'. Ix. l.eonatdo l)i ('aprio. I IS mum to. once.
M“ Whthh‘wrn‘
'ciIxIx and \entx hix paxxionx on cynical rIch girl
l)epp ix the xole figure of calm in an oddhall ‘Il world. the oldext xon in a dy xl'Irnctional family who liye iii a neurotic Iowa backwater Only when holiday maker l.ew ix aiiiyex docx he begin to conxidei hIx own t'eelrngx With one eye on detail. the other on the ahxurd. director l.ax‘xe (Hi [are .l I .ll Doc'I llallxtiorn deliyeix a xynipathetic romance inirounded hy .-\IIIetican t'orhlex. l'he acting ix xIIpth from all concerned. .\ low key woiich, one ot’ the (dim ot' the year. (‘cntial1 \lacRoheit.
I When A Man Loves A Woman ( ISI (l lllx \landokr. l'S. l‘NII Meg Ryan. .-\ndy (iarcra. lullen lluixtyii lc‘tI nrinx (‘axting Ryan againxt type ax an alcoholic mother going through iehah hell and piecing together hei domcxtic lIlc doex' add welcome trictron to \1andoki'x l'ollow up to lI‘II/Ir li‘IrI‘n/In. hut otthwae it'x a rather typical piece about toigiyencxx. Inner xtIength and reintoiccd lamily \aluex 'lhe ioiIIaiItic content .Iiid emotional manipulation. howeyet. w Ill pleaxe the hankre caiIIeix In the audience. (ilawow ()tlcon.\lti\1l‘ailthead ldinliuigh' ()deon. l ('l Sti Itlrclydc ()Ileoir llaIIiiltoiI.
l ('lx
I Wolll l5‘ i \like \icholx. l S. l‘l‘l-l Jacl. \icholxoii. Michelle l’leillei. lairiex Spadei 135 mrnx ll you go to thix e\pcctrtig a lull lIIoodied
w eiewolt iIon Ie. you'll he drxappornted l)IrectoI \icholx tiatlcx tiadrtIoIial xettingx and gore tor a deepeI analy xix ol onc man'x tianxloiination on phy \lc .Il. emotional and pxychological lcyclx. llitteii l‘y a wolt. \Icholxon'x liookx editor lendx ott' hix inid lil‘e l’lctll'ei More a date inoy ie with teeth than out- and out horror (ieneial ieleaxe
I Women In Perpetual Hell I IS I Ilean Michel ('aiie. l iancc. I‘l‘lir‘tl niiiix .-\ raIc l'l'x' xcieenriig ot (1”ch dcy axtatrng documentary aliout xeycn IiIiIiatex or I Iaiice'x l'leuiy -\lerogix women'x piixon. the largext in the world, Seitoux‘ Ixxircx aIc iaixcd drug al‘uxe. ll|\'. childhood tiaIIInax. the pointlcxxnexx ol Incarceration for minor ollencex all ol lllcll xtretch heyoiid national lIoIiirdaiiex l-ollow ed hy a dixcuxxion ax part ol the l'ilinhouxc'x 'lx‘eViewIng l’uirrxhinent' xeiiex. lidinliurgh' i'IlirihoiIxe
I Wrestling Earnest Hemingway I t’( t I I Rantla llaInex.l S. 1‘“) 1I lx’ohcit llinall. lx’Ichaid llaiiix, Shirley \lacl aiiie, |.‘..‘. irIInx Spaikx lly when two dexinIilai old men a retired. xhy (‘ul‘an l‘.tll‘('l and a woiiianixiiig lirxh e\ xca captain meet in l'loirla lcaix ol old age and puxhed axidc w hen they realrxe therex a lot xtIlI to learn aliout lite lioni each other. .\icely acted in a xweet lint not xacc haiIiie way l'drnlIIiigh: l-ihnhouxe
I Wyatt Earp I l: I (l aw iciice Kaxdarrl S.
l‘)‘)‘ll Key Iii ('mtner. l)ennix Quaid. (icne llacknian. I‘ll mrnx. .-\ xpiawling epic portrait of the legendary lawman that atteInptx to get heyond the myth ol the ( )K (‘oiial hy' xhowrng l'..llll to he pig headed In hix determination that lainily matterx ahoye all elxc l 'nloituiiately
(‘oxtnei ix ruxt too one note to create a truly ainhryolent character. hut the cloxe quarter guntightx are prolialily the Inoxt realixtic ey er put on the lirg xcieen See rey rew (ieneial releaxe.
BLACK
'l‘he l.lxl tI “ September I‘M-1 2