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thorn/yr I, ’i“i,1.’lr“i C‘ll" understarri hr; of Japanese ’,ll‘.(:'ll£t as fl‘il‘illlléti and carefully hensfi'flted.

As totally ’i‘JYI‘.‘£til‘.’(:. Larniit, paced and i)lili!.’,€tl",’ duinhfoundini; as this is ill) a truly Cecil B [)eMiile way. believe me, it is inermlihij,’ refreshing to come across soiirething as profoundl, unwestern. garish and .rulgariy pathfinding as this naive. eeri‘w, mess. It's emotive in that .‘iay that good and bad silent films are and all the hettei for it. Not for even/one but this is from a very intriguing place. deep in the heart of madnesslPaul Dale)

I UGC. Glasgow from Fri 2:3 Feb

DRAMA comrov FIFT (18) 94min «u

Roystan Tan may Just be Singapore's great white hope in terms of national Cinema, haying been marginalised away from the blossoming that has taken place in SOUIh East Asian cinema in the last ten years because of its authoritarian. vaguely puritanical regime. His films. if you are not aware of his work. tend to be as camp as a three cornered hat. musical and dance sequences wrll bubble out of seemingly naturalistic scenes. He shares wrth Thai filmmaker Wisn Tears of a Black Tiger Sasanatieng a gift for the inventive garish graphics can flood a close—up. and genres can smtch half way through a scene. He is Clearly a man as familiar With the films of Jean Luc Godard as those of Vincente Minelli.

Fifteen is in fact an extended ver8ion of a shod which Tan made in 2002. It tells the story of a couple of different sets of 15-year-old boys who hang out. smoke. fight and drink in the seemingly empty streets and apartments of Singapore's suburbs. As we follow the kids in what is clearly


Roddy picks . . .

CUM'r'b/ rap/trike; THE LIFE AQUATIC WITH STEVE ZISSOU (15) 118mm 00.0

Wes Anderson's fourth film is further proof that he stands alone in modern American cinema in terms of ambition and originality. The Life Aquatic with Steve Zissou, part high seas adventure, part film industry satire, part existential meditation on the meaning of relationships, is consistently clever and hilarious. It shifts from the light-hearted to surreal with scenes of real depth with the kind of ease we‘ve come to expect from the Texan director. Bill Murray heads an eccentric, often brilliant cast, as ageing oceanographer and filmmaker Steve Zissou. No one likes his films anymore and his life is falling apart around him. So he rallies a crew that includes his estranged wife (Anjelica Huston), a journalist (Cate Blanchett) and a man who may or may not be his son (Owen Wilson) and takes one last revenge expedition

Tan's interpretation of what a faked up dOCudrama should look like: themes of StiiCide. gang Violence, nihilism and parental absenteeism are touched on. Like a cross between Loach's Kes and Clark's Kids that has been all covered in pink string and ceiling wax. Fifteen certainly holds the interest With its iaunty, Vibrant and innovative. Hell. it even features a handy tOurist guide to the City Via the best buildings to commit suiCide from. (Paul Dalei I GFT. Glasgow Fri 78 Feb and Wed 23 Feb only. Fi/rnbouse, Edinburgh Fri

AIS—Sun 27 Feb only. lvtade b,.


Leg '7‘. l,i:?‘.tri(lTl‘€:(:X(L(:1I(:rli THE YES MEN

:ioCun-entan. firms An ‘jr’imfll

(15) 81 min 0000

the tram/x; or . tort/inester'i at r:

If there is truth in Israeli diplomat. government minister and Knesset member Abba Eban's statement from way back in t970 that: ‘histon. icv. teaches us that men and nations behave wrsely once they have

exhausted all other alternatixes'. then .. e no as serious and thorough as Abbott at‘f} Achbar's The Cerborafon.

this dces ho.-.e.er pose the kind of

the Yes Men are here to bear ‘.‘.’I'il‘.€SS to that truth. And; Bilchbaum and Mike

Bonanno are a couple of anti corporate activists who helm/e lll a humorous return on their invested time. lheirgarite is to set uptake \."‘./()ll(i Trade Organisationaffiliated '.'.'ebsitef. and then get the'nsel.'es ll)‘.’li(:(i t') Conferences around the world to due supposedly dry speeches about international trade edutres and quotas. Needless t plans: (l‘J: they are in the bosorit of an

o 8d,, the lift/1‘).

econc'i t’. su'n'nit oi conference .eers wildly l!’,'l‘ the progra'Y 'l“:. often .‘zith

crinrgej. and hilarious effect.

aii‘ortr; others. Chris S'wrtti and Sarah Pnee. the director (,roducer

Home '. 701.463. this simple the Yes Men's EtCl!‘.‘ilf;S dyer a couple of ,ears as t‘.£if"()‘;f(;(i by a" extreii‘ely 'l,;;rfget "rut rs alive .‘."ti'i the deas

and procreation. Neither as éi't‘t,:!'0ti’s

and playful as Spurlock's Super SW”:


in search for the mythical Jaguar Shark (this man-eater ate his best friend).

As ever, Murray is brilliant, his face telling you everything you need to know about Zissou before he's said a word. As much a stoned egotist as a disillusioned hero, he's surrounded by a crew of equally troubled and searching individuals (Willem Dafoe's frustrated shipmate Klaus is a deliciously bad tempered Mohammed to Murray‘s Ahab). Everyone is as separate as they are together. The action sequences, in which Zissou sees off a ship full of pirates dressed only in flip flops and a bathrobe to the tune of ‘Search and Destroy' by the Stooges. is worth the ticket price alone.

Vivid animated underwater sequences (by Tim Burton‘s buddy Henry Selick) are coupled with a soundtrack of French Carribean David Bowie cover versions, and the sort of attention to quirky detail we have come to expect of the filmmaker who gave us Rushmore and The Royal Tennenbaums. It's a film that, even after a few viewings, leaves you with the feeling that you‘ve only scratched the surface. This is Murray and Anderson at their most irreproachable and beguiling. In short, it‘s a bit of a minor masterpiece. (Roddy Woomble)

10'; War, Of

tangentiai riue at the

errpe.'.'ered that Hill It. the long f'lfl, at‘ect e .'(;r‘,' sir‘qie one of us. The (limit, eduisa‘er‘t of a shot to toe heart aid rr'rnd. but is it say too late? lPaul Dale) I Selected release from Fri 78 Feb.

‘er; '1‘.‘::' 273‘, THE LIST 51