Film Index
0 Punch-Drunk Love 1S 0000 Ward 'l homax Anderwn. I'S. ZINI‘I Adam Sandler. l'.IIIIl_\ “alum. l’htlrp Se}IIIIIIIr lloliman X‘Hnm ‘:\n art-hoth Adam Sandler i'IlnIf l\ hoe. the preeoeIothl} hI'IllIant Andehon hax Ilexetrhed lil\ iIIIII
\\ rItten \peeIiIeall} lor the louhrov. LHlliCtllalL Sandler. It'\ a hemldermgl} oil- krller IoInantIe eoIIIed}. ~et III .-\nder\on\ iaxourtte tlllt'llltlIlL leIIItoI). ('aIIioIIIIa\ San l'et‘ltatldo \alle} ('loekmg III at Iu~t N" mmutex I’IuII lI-Ihunl luII Iaekx the grandroxe weep and enIotIonal potene} oi .lIugno/III Yet ‘aIth Il\ eoneern ioI lo~t ~oul~ and m iormal lll\ entnenexx. l’IuII II [hunk /,uI¢' l\ lliitxl tlL‘lllilIL‘l) a PI .'\lltlL‘I\i‘li film. and one \xlneh hreakx the generre ltllc\ III telling ll\ oun III/arre tale ol IoIIIaIItIe IedeIIIptIon ('(LI, (i/meou
Repulslon I lhI .... IRoIIIan l’olanxkr. IR. 1005: (‘athelrne l)eneu\ e. Ian llendr}. John I‘l.i\t‘l IIIFIIIIII |.eit on her oun III IIeI \Ixter'x ilat tor a ten ll.l_\\. a \e\uall) reprexwd )oung \Iornan graduall) deterIoratex touard\ eonIplete mental hreakdoun, l’olankuK i'Irxt IznglIxh language IIon Ie remamx one oi lil\ hext. a genumel} tll\Illl'l‘ilil_' e\ploIalIon oi lliIL‘ll\L‘ paIaIIoIa and elauxtroplIohIa that unilmelnngl} pIek~ at the audIenee'x tlt't'pc\l tIL'tlt'II\L'\. ('( I". (i/Irtuun.
The Ring I ISI ... I(iore \erhIIkaI. I'S. IINHI \aomr \Vallx. llI'Ian ('o\. \IaI'tIrI llenderxon l l5nnn. ’I'IIIx remake oi the lapane~e horror tlIrIlleI' Rmeu retamx the orIgInal'x Pl't‘lllht‘ an urban In_\lh ahout a ill} \ICl'lUlh \ Ideotape that klll\ thoxe “liU \MIICII lI L‘\.lt‘ll_\ \L'\ en tltl}\ lalt‘t' ‘ hut IllL' .Ie‘lltm Ix i‘L'IUeIIIL‘Il Io SL‘IIIIIC. \kliL'l'L‘ \Valh' lli\ exttgatn e Iournalrxt Illitl\ herxeli \\lIll. '\L'\. one \H'Ck Ill \UI\L‘ the m_\ \ICI‘) .IIIL‘I' \Iatelnng the tape herxeli. Where Rmt’u relied on .tllltIletCl‘L‘ llll Il\ \e‘at‘LN. I'ltc' Rure tend\ to the blatant and lIteral l’tedtetahl}. \erhmku ean't
l'C\l\l rampmg up the aelton. but he doe\ w \Kllli real panache. (imam! rr/I'uu Road to Perdition I ISI .00 .\Iende\. I'S. ZINL‘llUlli llankx. l’aul .\'e\\man. Jude I an, I l"nnn. .-\ Deprexuon era gangxter pIeture \\ Ith \oIId American iamII} \aluex. II ma) alxo. like .\lende\' ahxurdl) o\ errated ()\t‘til'-\\ Inner .lmu'n Int Hi'illl“. lool eIIIeIIIa-goerx Into eonl'uxmg lI\ mood} sell-Importanee ior proiound lthtg‘lil. l'tll' here are lllg SIIIIN. lllg 'l'ltL‘mLN Il‘.illit‘l‘\ and Sons. l.o}alt} and lletra}al. Sm and Salxanont and llea\_\ Synhohxm I\\'ater I)eatlII. 'l'ln'ouglI (‘onrad Ilall\ darkl} gltxtenmg eInematograph}. man} ol’ the IndI\ Idual tahleau\ are unprexxnel) \taged and \tunnIng to behold. li' ottl_\ .\Iende\‘ erupt}. o\ eI‘-Ilre\\ed \peetaele had done l|ll\IlCC to the fine photograph) and perlIIrIIIaneex. Sn'r ('I-nturx, lit/IIi/Nll‘g'h. Roger and Me I ISI 0.... I.\iIehacl Moore. ['3. IUSW Michael Moore. Roger SIIIIth. 00min. .-\Iternatel) lIIIarIoux and \addenmg portrart ol the dh‘axtrom eil'eetx oi' \\ Idexpread unemplo} ment on .\Ioore'\ home to“ II III l'liliI. .\Iontana. .-\ i’ormer Iournalrxt. Moore ~old lil\ home and auetIoned lI\ eontentx to make Illl\ IIon Ie. .-\n une\peeted lIIt III the State\ Ilil\ doeu- eomed} i'olloux the tI'aIl oi' lil\ eamera ax he gleanx eornmentx irom all manner oi folk and \et\ oil III \eareh oi' Roger SIIIIth. the head OI~ (Ieneral \IttloiN. \\ Ito (IKNCKI do“ It their I‘lmt taetor} \\lIll the luv oi RIHNNI jobs. (.('.-I. (iluwon.
Sacrifice Ieert theI Ilillen Bruno. I'S. 1003» 50mm. .-\lternatrng dreanh \\ ItlI nIgIItnIarex. dIreetor Bruno look\ at ehIId ~Ia\ er) and pro~trtuhon among Burmexe gIrl\ III ‘l‘lIaIland, (‘unno lat/In/Iurelr.
The Santa Clause 2 It'I ee I.\lIehael I.emheek. I'SA. SHUZI ’l‘Im .-\llen. IilI/aI‘IetlI .\lIteheII, Judge Remhold.
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36 TH! LIST ‘3—2" \‘a' 2-333
Ill-1mm. l)Id \\ e I'eall} need a Mum.- (‘ltmu \equel ’ Apparent!) \o. ax Santa Inn to find a \\ Ile lseiore ('IIrI~tma~ or e|\e he ltIxC\ lll\ rob. (I .l. (In/I hunk Scene By Scene - Paul Schreder Ieert theI I.\Iark ('ouxrnx. I'K. I.\lIn the Sereenmg oi the Illl(~ Interneu \\llll Seln'ader IdII'eetor oi the euIIentI) \ereemng slulo I'm rm lollou eII h) a talk h} Scene II} Scene erealot' ('otnmx l‘l/IIl/IUHH‘. lz'I/I/i/tuluh. Scenes irom a Marriage l IS. .... Ilngmar Bergman. Sueden. I‘V‘H I.l\ I'llmann. Izrland lowpltxon. lhhnnn In llergman'x marttal drama. orIgInall} made ax a \I\-part le|e\ Non \eI'Ie\. I‘llnIann and Josephxon Iirom \\ horn the great dII'eetoI L‘\It‘tte‘l\ eareer-hext perloInIaneew pla) a eoIIIioI't.Ihl_\ -oli \\ He and lquhand “It” In e through the palm and pleaxurex oi IIIarrIage Ineludmg drxoree and Ieumon o\ er the )ear\ oi their ll\L'\, l’l/III/lrtuu. [LI/lIl/llil't/l. The Seventh Seal mm .000 Ilngmar Bergman. Sueden. NS": .\Ia\ \Irtt Sylou. (iunnar llrornxtrand. llIhI .-\IIder\\on. 00mm. Knrght \‘on S}do\\ retuth from the ('ruxadex to the brutal horrorx ol' InedIe\al Sue-den. and pla_\\ CliC\\ “llll I)eath ax the plague Iagex around hIm. l’ouerlul IIIoraIIt} tale. \\lIli a proi’ound xenxe oi lII\torIeal et‘ttelt}. \xlIIelI \xax one ol the director'x hIggext earl} \tteeexxex I-I/mhorm'. Iz'tlrnlmrgh. Silhouette Films: Programme 1 III Il.otte ReIpIger. (ierman_\. 19232053 "II l07nIIn. Retroxpeetn e oi the lllllh oi' ReIpIger. tlIe Inno\atI\ e (ierInan) aIIIIIIator “Ito llwd haek-ht \lllltiliL‘IIC\ and “lli‘ Ix eredtted \\iIli ereattng the i'n'xt annnated feature. ten )earx hetore \Valt l)l\liC_\. (il- l. (i/IIwmI. Silhouette Films: Programme 2 It» II.otte ReIpIger. (iernIan). 1028’th "5min. Retroxpeetn e of the itlm~ oi Rerprger. the IIIIIoIatII e (iernIan) anIIIIator \\ ho uxed haek-Irt \lllitttlL‘IIL‘\ and \\ ho l\ eredtted \\ Ith ereatmg the lll'\l annnated ieature. ten )eah before “all l)I\ne_\. (i/ I. (i/(me, Smoking Room I IFI IR (lual. Spam. ZINIII .Wmm. Black corned} ahout oti‘tee polItIo ax tlnngx are \lIaken up at a Barcelona eompan) \\ hen a ['8 III”) take~ o\ er and ioree~ the \liittkCh out onto the xtreet. (i171. (iltngon. Solaris l2.-\I .... ISte\eII Soderhergh. I'S. ZINBI (ieorge ('loone}. .\'ata~eha .\IeIillIone, ‘Nnnn. 'l‘hrx truneated. hut \Illl \er} ei'teetn e next \eeron oi' the noIel h} StarII~laxx l.em LlL‘liiUli\Ir.tIC\ the enormoux \L‘fxtIlllI) oi' Stex en Soderhergh. llh xereenpla} eompre~w~ the tint hour ot Tarkox \k} 'x 1‘)": Illili Into ten liillillIL‘\.
Pierce
\endmg p\_\ehologrxt Kelnn I( ieorge (‘loone} III tremendoux ioIIIII oil to the troubled \paee \I.llliill oIhItIng the planet oi IllL' IIIIC earl) on HL'IL'. llt' l\ tillt'elt'tl It} a dehIIItatIng neurme a~ lll\ \\IIC I<he_\a I\.II.I\I'II.I \Iel'lhonet \\ ho eoInIIIItted ~uIeIde _\ear\ helore appear\. and l\ a\ real ax Kelx III hnnwll It amount~ to one oi the rum! thought-punokIIIg and mo\ Ing lillih oi the }eat, (it m m/ u {I Itu
A Song to Remember Il‘I It‘haIlI-x \'IdoI. I’S. IU-HI ll3mm. lnaeeurate. hut entertammg Innueal hrograph} oi l‘tederre (‘hopm \\ It|I (‘ornel \Vrlde III the lead and Paul \IunI and Merle ()heron IendIng \tlppotl 8‘! limit 'I ('I III/i. Ia/III/IIIIg/I Spirit: Stallion of Cimarron Il‘I ... IKeIl} .’\\I‘lll_\ and I orIIa (‘ook. I'S. IIIIIZI .\Iatt Damon. Jamex ('Iomuell. l)anIel Studr. 54mm, 5pm! I\ an anImal i'ahle III \IhIelI none oi the non-human (Ii.ti‘.t(ICl\ \peak. “C (IN. ltII\\ C\Cl. gt'l Ill\l\lL' IllC heart and ltt'atl Ill Ilit‘ lllti\ IC'\ epon} moux equme hero thank\ to IIarIatIon h} .\Iatt Damon Ie‘IIII\e‘}IIIg SpIIIt'x thoughth and \ong\ h} IlI'}arI .’\ilillll\ ilih leeltngxt, .-\ho\e all. Spun. a \IIld Inuxtang ll\ Ing III the Old “ext. )eat‘th to run tree untrl a laxxo lanle lnm III the hand\ oi the ['8 ea\alI'} \VhIle \ome \lL'\\Cl'\ “ill he rouxed II) SpII'It'x thextIonIng oi the IS lli}Ill ot .\I.IlillL'\l l)e\tIn_\. ollterx \IIII he \Ill‘l'CtI h} the qualIt} oi the anInIatIon. uhIeh wattflod) Integratex tradItIonal li;tlitl-tll'.|\\li anInIatIon \\ Ith eomputer- generated Image» Stu (tutu/w. IpI/m/IIue/I Spy Kids 2 - The island oi Lost Dreams ll.) iRUl‘L‘l‘III RodrIgueL I‘S. IINJZI .-\le\a \ega. l)aI"\I Sahara. Rohetto .-\ntonIo llandera» (‘arla (Iugrno .\IIn the. 'I'aIIeI and eonxrderahl} more tenaeroux ('armen and JunI (‘orte/ are ieelmg pretty damn eoIIthle‘IIt aiteI \aIIIIg tlIeIr ~upet' \p} parenh lrom perIl III the i'n'xt lli\I.tllliCliI oi \\ hat “ill undouhtedl) become a iamII} ad\enture xerrex \ou \eerng III an all He“ Sp} KId~ \lll‘~tll\l\li\li oi the ()SS organIxatIon. the pluek} I‘I‘CPUI‘CM‘CHB are a” \CI IUI' IliL‘ll‘ Ili\I \Ultt llil\\lUll to dhem er the [th leand ot l.IkI I.IkI \\ here the} muxt loeate and dextro) a 'I‘ranxmooker de\ tee eapahle oi ~huIIIIIg do“ II all eleetI'IeIt} on earth .-\lthough Ilih xequel doe~ not. eould not mateh the orrgmaln§ ol X/II A'II1\.It\ \Illl great iun to uateh. \IIIIII Iz'drnhurulr .-irI\ (.i run: llI/III/Hil'g‘h.
Star Trek X: Nemesis l 12A.
... IStuart Band. I'S. ZHHII l’atrrek Ste“ art. lom Hard}. Brent Stunner.
I lhmm. 'l‘he hare hone\ oi an ad\enture to do the linterprhe ere“ proud are here
Brosnan goes all 'Oirish' with Evelyn
'l'lIe \erIpt In John | ogan Ithe ()xeat- \IIIIIIIg \erteI ot (i/mlrulor I employ the kind III e'ltt\\le‘;Il \IIIIML‘lltlIg tlL'\ Iec\ lhal hired the orIgInal IL‘lt‘\l\l(ill \t'llL‘\ aan e the Inc] oi mere \paee \oap opeIa.
I)I'a\\ mg on the (Ireek tragedy (hall/tut lx’I-I. |.ogan\ \eIIpt li.i\ (‘aptam lean-Inc l’Ieard ISteuartI iaee li|\ ultImate llt'lllt'\l\I a )ounger \L'l'\ltlli oi llllii\ClI \\ ho lurnx out [II be It elone Cltglncct't‘tl h} IllL' RoIIIaII-Irke uarrIoI raee the Rotnluanx, I'niortunatel}. tlnx Interextmg \et—up hurlle Io notlnng more than an e\tended elInIa\ Inxolnng a dog iIglIt III \paee.
(il' /_ (iltrxuon.
The State I’m In |5I I(‘hI‘I\tIan l’et/old. (ieI'nIan). IUIIIII luIIa llunInIer. llarhara ,-\uer. RIelI} \lullet. liVmIn .’\ paIr oi ioI‘IIIeI (Ierman IL‘l'lUll\I\ ha\ e \pent the II.le ititeen )earx hIdIng lrotn the .tlllliitl'lllCN III I’ortugal. hut the InarI'Ied eonple'x daughter _\L'.ii'l1\ tor the eIer}da) Il’lt‘litlslilps other kId~ enro}, I‘l/Ni/IIIHH'. ILI/Hl/HllL’ll Stealing Harvard I DA» I Bruee .\Ie('ulloeh. I‘S. 3.1th laxoli l.ee. 'I‘orn (ireen. l)Cliiii\ l’aI'IIIa HZIIIIII. l.ee'\ mee gu) turnx to a lIie oi ernne III order to lIII.IIIet' hrx IIIeee'x i'Irxt _\ear oi tuItIon at the eponunoux lllll\Cl'\lI}. (ireen l\ the no good mate \\ ho eneouragex \ueh an extreme eourxe oi .lL‘Ilitli. 'l'he iliihl InterestIng thtng about Ilil\ Illlli l\ the eaxt. Supportrng the Wall} quite talented Kexm Snnth alumnI. l.ee. and the Iéill'l} lalcnllcxx (Ireen .irL' \ueh Independent lIlm \lliall part pla) er~ ax l‘arma. Se) nIour ('axxel and ('hrrx l’enn. SCC [‘I'LW 1C“. .Sc'lt'I It (I I‘r’lr'tlu'.
Take Care oi my Cat I IS, eoee IJae-I:un Jeong. Korea. ZIMZI l.ee Yo-uon. ()k JI-_\oung. llae l)oo-na II3IIIIn. .-\II axxured and endearmg ememhle drama dehut trom Jae-eun. Set III the port eIt} oi lnehon. lI\ eharaelen are a group oi )oung \xomen trom a \arIet} oi Imekgroundx. u ho are altemptmg to make the auk’uard Il‘.lll\llltili i‘roIII \ehool to adult Me and u. ho are takmg It III turn~ to look alter a \tra} eat. Rather than eoneentratmg on the romantIe ;lII;iI.‘lililCllI\ and dIIemmas oi the gIrlx. the Illlli explore~ theIr \lilllliig inend~lnp~ “fill one another. then proi'emonal thplrdllitlh and uneertamnex and then troubled home-hum A generom. “Min! and Imprexmel} aeted llllli. I-I/IrI/Iorm'. lat/Inhuru/I.
Talk to Hon 1mm” IPcdm .-\lIIIodI'I\'ar. Spam. .‘JMZI lax Ier ('amara. l)arI'o (irandInetII. RmarIo Florex. Leonor \Vatlmg 113mm. Berngno I(';’IznaraI and \Iareo I(}randInettII are III lme mth tuo \Iomen hoth oi uhom are liIMplI’alixcd III eomato~e ~tatex. Benrgno beeame a nurxe