REVIEW FILM
i may not have been an obvious choice, i
' SENSE AND SENSlBILITY 2 yet (unlike the merely decorative WHEN
. , . 3 James Ivory) his way with the I JuSt m.ca-se-you re [mm on 't’ Jane background detail brings out the I .. 1 Austen 5 msrghtful comedy-drama of
social mores follows the plight of the s'gmllcant tens'9ns tlemee" °°"."".V i
Dashwood family, who lose their home and city folk, while his characteristic ;
t and most of their money when me 5 sense of understatement gives an
) pate! tami'ias passes on and the excellent cast a solid platform, but
inheritance goes to his son by a "9"" '"d"'985 the.” t previous marriage. All of this leaves Thus’ Thompson '5 deeply l y
l
l
sisters Elinor (screenwriter-star Emma sympathetic’ Winsm a pOWde"keg 0’
Thompson) and Marianne (Kate aneCtions’ and. Alan Blokma'.‘ Winslet) facing a precarious “mire. absolutely terrific as the plain-spoken
Without the dowry that would secure gentleman Who “9'95 "‘9'" “Elm out- them a ,espectab'e match, they.” '8“ 2 Together they make fora tellineg real very much at the mercy of men like ‘ drama’ "0t some "my '"esty'e
Hugh Grantts tongue_tied aspirant accessory; and though Lee himself has cyergyman o, meg Wise.s handsome rather unfairly been Ignored by the hammer John Wiuoughby. Academy, Oscars all round for
, , everyone else would certainly be The aCh'evement 0' mompso" 5 much deserved. (Trevor Johnston)
adaptation is that she has kept the Sense And Sensibility (w (My lee, wordplay engagingly tart and sharp- (Is/UK, 1995) Emma Thompson, Kate
' “ts \‘
'9 z . wrtted, but never-lost srght .of the Wins/8t, Alan Hickman, Hugh Grant, When Saturday Comes: Sense And Sensibility: ‘the wordplay IS 90‘"?le "UStfatIQHS and bltter 135 mins. From Fri 23. General ‘soccer attempt at Rocky engagineg tart and sharp-witted' feelings of exclusron simmering release ' e- ” (i ' . can can moyes rom
liond \ illain to working- class star in this slightly oyerstated story ahotit Sheffield lad .limniy Muir. who dreams ahout leaying hehind his cannery joh to heeome a prolessional l‘oothallct'. Despite his emhittered l‘ather'sicers and tight marking hy the works l'oreman. things are looking up litil' the gil'letl striker when he scores with new wages clerkess limily |.loyd. She has an unnecessary lrish accent htit. more itiiportantly. connections at Sheffield United \‘ia her uncle (trusty l’ele l’ostlethwaite). ll‘only .limmy could just lay oil the drink.
The film kicks ol'l‘ promisineg with a gritty industrial look aiid a nice
m drawn in as the inside man on a security yan rohhery that will culminate in a spate of hetrayals.
()ther young filmmakers seem intent on reyiying the moody not)“. hut Soderhergh has opted instead for what tnight he the last ol‘ the great cash heist moyies. Shot in expressionistic colours
at times it's as if this world is filtered through stained glass the feeling is that no one is facing reality straight on: Michael dwells upon the past and the lilm's compch time structure looks hack to three separate plot lines while the main action unl'olds. minute hy tattt minute. in the present. The circumstances leading tip to the rohhery lie underneath the tnain narratiyc.just as the characters’ true motives and loyalties are underneath their surface pleasantries. An intelligent. rellectiye thriller. (Alan Morrison)
When .\(’.\'. /l(’\' A" l'lt/("l’ltl/lt' arriycd on the scene .1 ins years hack. Ste\ en Soderhergh wasn't so niuch haptised as drenched \\ ith so much hype. he could hardly keep his head ahoyc water. The trouhlcd A'tt/lttt and neglected Isl/1e (ll Illlt' HI/l litlllt)“ c‘tll tllttl so, out till l'ashion. his latest mo\ ie. The I'tn/t'i'nt'tH/l. looks like it's going to he sent till! it) l‘t)\ till‘lc‘c hattle lit the sound of a solitary trumpet rather than a l‘anl‘are. llti\\ ey er. as a modern take oti aii old-lashioned crime thriller. it operates as a tight little tttiit.
Michael ('hamhers t l’eter ( iallagher) returns to his 'l'csas' home alter seyeral )C;tl‘s hiding otit on account ol~ gamhling tlehts. llis prey ious get—rich- quiek schemes had hackl‘ired. causing
him to run otit on his wile; now. hack ’l'lie ('ut/t'rnt'u/li (/5) (Mere/i ‘0’” ll." "\“l'k‘ “Ulllkl‘fi lot" his widowed mother's wedding. .S'nt/t'r/u're/t. ('5'. /‘)‘)5) l’t'ler , h”! "‘lxll‘H-l‘ l“”‘ll”ll'l Mk . \ . . ‘V ‘l‘\ ‘l‘lt‘ Ill l 1' MN) he s ahout to rekindle a growing set ol (ml/uglier: {ll/NIH] lzlt’ml. llr/lltmi , L .L ' L k k . . ‘ ‘ .. ‘ . . '1 > ’4 It s drama hy nuiiihers: tensions hetween lanitly memhers and lane/m: W int/1.x; from /'I‘I /, The Underneath- “the |ast otthe great cash too rushed too ohy tous ex-loycrs. Not only that. he's also _ litt’t’n/un‘e/I: I’l/m/mttxe. heist movies’ i and. like a ptih team. takes
itsell‘ too serioust l'or
. . . . \yhat ll l a s )c ‘ 'r ., " , I, One’s sleazeball producer Philo Gant
. . . Hean gtyes llll) pt r cent (Michael WIhCOttthlh the help of t not looking that shabby, cynical private eye Max (Tom etttttt‘otttttwtt- on tlte hall. w Sizemore) and in-your-face chauffeur/ hut hunt; in well With the A hard-edged science fiction allegory, security expert Mace (Angela Bassett), ill’l'i‘V‘lW’llC- Mimi .WU-
‘ Strange Days combines the Lenny tries to unravel the mystery. A f "(will (“it/,‘W‘f'l” "'9" considerable talents of director ’ missing~‘clip’, it seems, contains : “F‘L‘ ' “ “"' ‘f““””‘1~ . . . . . . ( naked in the ttih and Kathryn Bigelow (Near Dark, Blue incriminating footage that, if ; WWW hm. “m h“ I ; Steeland Point Break) and co- I broadcast on TV, could ignite the k..”,',.”,}l,c\ “mm”! f scriptwriter James Cameron (director city’s explosive racial tensions. § .mtut tt (it, (tutti ‘ E Of The Tenninatorand its SEQUBI). A cross-bred hybrid Ol film "Oil, , stripping ot'l' .t stripper. i Sadly, for all its ambitious ideas, 1 futuristic thriller, political ? and WM”) (“Hung if“! in ; controversial political references, ' commentary and romance, Strange “3* 4" it WWW DUIHHIL‘h’ , ; retina-scorching visuals and j Days is an astonishing technical ; 1"i‘lf‘ff"1"“;“1‘2 l, r ! choreographed action, it’s a i achievement. As always, Bigelow . " l l", 9‘“ _” l. " “l-‘f . . . . . . . he players worked hard. collaboration that never quite delivers 5 stages the set-pieces with a technical ; hm IN mm w my . 'g ! what its dazzling surface promises. f skill that is second to none, but where 3 “up. stilt it's .. l'unny 5 The year is 1999 and, as the f she falls down is in weaving the 5 mt game and when ' ; millennium approaches, the riot-torn : different plot threads into an smut/m- (.‘ttmt't may . streets of Los Angeles reach flash- 3 intellectually satisfying whole. This is ! well. like men ' point when militant rap artist Jeriko f» particularly evident in the final 3"‘Hlk‘nl‘k‘41'l‘; “it‘s I“ ! One is gunned down in cold blood. 5 scenes, where she juggles three ;I;t‘t~‘;;t‘lk‘t'\l-lt(W ; Shortly afterwards, images and reality 3 different endings - none of which is ‘ f“ ".”“ ‘I’ . . . . . ll/it'u haunt/tit ( u/Iit't ; collide when Lenny Nero (Ralph wholly convrncing. (Nigel Floyd) ,{l , WW mm. (A:
Fiennes) learns that a young prostitute Strange Days (18) (Kathryn Bigelow, who used to do ‘wire’ work for him has ' US, 1995) Ralph Fiennes, Angela been murdered. A confusing trail leads Bassett, Juliette Lewis. 139 mins.
Strange “alts: 'lelina‘scml‘ing Visuals' him back to his ex-lover Faith (Juliette l From Fri 1. General release.
I‘l‘lfl Xvi/Ii lit'tm. /‘.lIl//\ /./u\t/. /’t't't' I’l’\//('l,/IllfI/l(' loo /IIIII\. I’M/Ii /'II /
{it'lit'ltl/ I‘t'/t'./\t'
The List 23 Felt-7 Mar NW» 29