I This section aims to provide a revieon every film to be seen in central Scotland over the next fortnight. For programme times see individual cinema listings.
(U)- Universal, suitable for all ages.
(PG) - Parental Guidance suggested as some scenes may be unsuitable for younger children.
(15)- No one under the age of15admitted. (1B)— No one underthe age ol18admitted. 1&- New Release.
I Amadeus ( I’G) (.\lilos Forman. L'S. l‘)84)'l'om Hulce. FMurray Abraham. 160 mins. A risible title fight for a placein posterity between a God-fearing but mediocre talent and a musical genius. Unconvincing but redeemed by strong visuals and a sumptuous soundtrack.
Edinburgh: Cameo. I Babette's Feast (L1) (Gabriel Axel. Denmark. 1987) Stephane Audran. Jean-Philippe Lafont. Bibi Andersson. 103 mins. The Jutland peninsula during the late 19th century. Iixiled French housekeeper Audran wins 10.000 francs in a lottery and uses the money to prepare a sumptuous banquet marking the centenary of the birth ofa Lutheran dean whose surviving spinster daughters carry on his good works among the poorand needy. However. when a shopping list of quail. turtle. champagne and vintage wine arrives the sisters begin to wonder ifsuch pleasure is compatible with their piety. .. A delicious gastronomic experience and an exquisite slice ofcinematic narrative this is a boisterous. exemplary literary adaptation full of pleasurable surprises and real feeling. A worthy Oscar winner. Edinburgh: Filmhouse I Blade Runner( 15) ( Ridley Scott. [35. 1982) Harrison Ford. Rutger l lauer. Sean
Young. 117 mins. A tough coptracks down a group of malfunctioning androids in this gritty Iii-tech retread of Raymond Chandler. I’idinburgh: Cameo.
I The Blues Brothers ( 15) (John Landis. US. 1980) John Belushi. Dan Aykroyd. Carrie Fisher. 13” mins. Bloated. overlong anarchic Chicago comedy with the two stars on a mission from God to financially salvage the imperilled fortunes ofan orphanage. Lots ofguest stars. musical numbers and automotive destruction in a typical product of over-emphatic contemporary American humour. Edinburgh: Cameo.
I Blue Velvet ( 18) (David Lynch. LS. 1986) Kyle Macl.achlan. Dennis Hopper. Isabella Rossellini. 12flmins. Lumberton.middle-America. Would-be boy detective Jeffrey Beaumont findsa severed car on some waste ground and when the police shoo him away he decides to do some investigating of his own.
A singular fusion of the cosy and the terrifying which blends kitsch and nightmare. B-movie detection and brutal sexual perversion to deconstruct our complacent vision of what passes for normal society . This is filmmakingof remarkable imagination and skill that places its director in the front rank of contemporary American cincma.(ilasgow: GI’I'.
I Coming To America (P0) «.2— (John Landis. LS. 1988) Iiddie Murphy. Arsenio Hall. Shari Headley. James [Earl Jones. 116 mins. Sec caption review. Glasgow: Cannon Clarkston Road. Cannon Sauchieliall Street. Edinburgh: Cannon. Central: Canon. Strathclyde: Cannon.
I Cop ( 18) (James B. Harris. LS. 1987)
James Woods, Lesley Anne Warren.
Charles Durning. l 10mins. Detective Sergeant Lloyd Hopkins is obsessed with tracking down the serial sex killer ofa number of women. a quest that leads to marital tension and conﬂict with his superiors.
Former Kubrick associate I larris has produced a fine genre thriller with some excellent setpieces. which is at once also a rich investigation of the power of myth in sexual relationships. Worth seeing. and of course Woods is compulsive. edgy viewing as always. Glasgow: Grosvenor.
I ‘Crocodile’ Dundee ll (PG) (John Cornell. Australia. 1988) Paul Hogan. Linda Kozlowski. John Meillon. l I 1 mins. Not entirely unexpected sequel has Hogan's Dundee retracing his steps from Manhattan to the Aussie bush toprotect his girlfriend journalist Kozlowski from the unwanted attentions of a gangof Colombian drug peddlars.
A lame script and Hogan’s catatonic underplaying mar thisantipodean comedy-adventure to the extent that what will undoubtedly be one ofthe year's most profitable releases unfortunately also has to go down as one of the most tedious. Glasgow: Cannon Clarkston Road. Cannon Sauchiehall Street. Grosvenor. Edinburgh: Cannon. Dominion. Strathclyde: Cannon. Kelburne. ()deon Ayr. ()deon Hamilton. Rialto.
I Dark Eyes (PG) (Nikita Mikhalkov. ltaly IISSR. 1987) Marcello .‘vlastroianni. Silvano Mangano. Elena Sofonova. Marthe Keller. 117 mins. Skilful adaptation of a selection ofChekov stories has ageing rake Mastroianni reminiscing over his past infidelties and precarious emotional and financial state; left. as he is.
COMING TO AMERICA
Coming To America (15) (John Landis, US, 1988) Eddie Murphy, Arsenio Hall, James Earl Jones, Shari Headley. 116 mins. The resistible rise and rise of Mr Eddie continues in his latest box office bonanza, America‘s number one movie for over a month and set to do the same over here.
Our Eddie is Prince Akeem, heirto the throne of a fabulously wealthy central African state, but dissatisfied with the bride arranged for him by the King (Earl Jones). Instead, he puts off the regal marriage and travels to the good ol‘ US of A with his trusty sidekick (Hall) to seek his own choice of queen. Although naive in the ways of the big city, this innocent abroad soon finds romance with a local girl (Headley) whilst all the timekeeping his identify a secret from her, the reason being that in a capitalist society he wants to find a woman who will love him for himself and not merely lust after his crown jewels.
.3 32),, _ I suppose one would call this a gentle comedy, gentle on the laughs, but weak material has never damaged an Eddie Murphy vehicle before. Aside from the rampant misogyny taken for
i granted and the deeply patronising
portrayal of the African country (all
smiling natives in brightly coloured robes) what is interesting about this avowedly populist movie is the way in which it adapts the familiar love over gold routine. Here Prince Murphy poses as a pauper in orderto be sure of his true Iove‘s feelings for him, but it is
exactly that, never more than a pose.
In a movie that cost around $20 million, one ofthe richest entertainers in America is asking us to believe that money is so unimportant to him that he is willing to throw it all away. One feels that this is not entirely honest, Eddie. in the final scene once Akeem has got the girl (the one possession needed to make his life complete?) he doesn‘t renounce his fortune but goes back to Rurizania to enjoy his riches and his wife (or vice versa). Money may not be able to buy you love, butthe two certainly do complement each other. The marriage and Akeem's regaining of his vast fortune make the climax of the movie a twin celebration. Yes folks, it's OK to feel good about Eddie Murphy's wealth. (TrevorJohnston)
The List 5 — l 1 August 19889