I Repo Man i 18) (Alex (m. [78. 1934) llarr} Dean Stanton. limilio listcxcz. \"onctta .\1c(iee. 92 mins. (‘ult la\ e hlended social stire and oi't‘hand sci-ii. as naive punk lisyevez gets a job repossessing cars and old hand l larr} Dean Sll()\\S him the ropes. (ireat slul'l. onl} it makes } ou wonder \s‘hate\ er happened to Alex ('ox‘.’ lidinhurgh: ('ameo.
I Return Of The Seacaucus Sevenl Iii (.loshn Sil}les. l'S. l‘Nll Mark Arnolt.
Maggie ('ousincau. .lohn Sa_\ les. lllllmins.
A group oi good lriends \\ ho shared the radical Sixties college lite get together tor a weekend )ears later. and find out the dill‘erenl directions the} have each since hecn lollossing. lixcellent script by Sgt) les pn\\Cl'\llTls lms—hudget entr} that \s as
more or less remade a couple ol)earslater
(\s ithout credit i as The ling ( ~Iii/l. (ilasgo\\1(il7l'.
lThe Running Mani l8) ( Paul Michael (ilaser. l‘S. 1‘)SS).'\rnold Schssar/enegger. Yaphet Kotto. Maria ('onchita Alonso. ()7 mins. In a totalitarian luture television is used h} the authoritiesto pacil} the disgruntled masses. \\ ith Running Man a deadl} pursuit Silt)“ topol' the ratings. lintcr Arnie as a framed cop. the latest t‘odder to
he hunted down and killed lor the punters'
entertainment. lixcept that our man Sclm arzeneggcr has other plans.
Rather nast} and exploitatisesci-ii. coming across like a more mindless Ro/mmp \\ hile pretending to ha\ e something to sa} about the Media. Arnie is Arnie. (ilasgou: ()deon chlicld Street. Strathclyde: .»\.\l(‘(il.\dehank. (‘enlralz ()deon l larnilton. l.a Seala.
I Shag ( l5 ) (Zelda Barron. l'K. 1988) Bridget l-‘onda. l’hoehe (ates. Annaheth (iish. lllllmins. South ('arolina. 1903. Four middle-class girls just out ol high school lace an adult luture in college or marriage. but not helore 'the best \seekend oi their lixes‘. in the shape ot a jaunt to the Sun l'un Festival at M} rtlc Beach. \s here the itinerary includes hots. booze. the beach. a heaut} pageant. and the grand Shagging competition (the Shag being the numher one dance craze of the da} ).
A film about 1%3 seemineg so light-hearted and line) nical it might hax e been made in No}. there‘s still a know ing edge to this tun-tilled tale olgrou ing up to appeal to the tougher liightiessensihilit}. A recommended entertainment. (ilasgoss : ()deon Renl'ield Street. ('entral: ()deon l lamilton.
Midnight Run (15) (Martin Brest, US, 1988) Robert DeNiro, Charles Grodin, Yaphet Kotto. John Ashton. 122 mins.
Alter the intense miniatures that he has"
altered us at late in The Mission and Angel Heart, it‘s a pleasure to see Robert DeNiro relax enough to let us see just what a charming and, dare one say it, straightforward guy he can be. Here he plays an honest ex-cop turned bounty hunter looking to do one last lucrative job belore he settles down, and the task in hand turns out to be a trip to New York to nab crooked accountant Charles Grodin. who has embezzled 815m from a leading Malia vice kingpin.
Of course the FBI want to get to
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Grodin themselves, as do the mob to stop him lrom squealing on trial, so what starts out as a simple plane ride back to LA ends up a rather less salubrious jaunt criss-crossing the country in a series oi trains, buses, and stolen cars whilst trying to evade an increasing posse ol pursuers, who by now include anothergrasping bounty hunter and a slew of cops. With Grodin’s frequent escape attempts adding further complications, what we have here is one very well developed script by a gentleman named George Gallo.
The movie builds the relationship between the two reluctant iellow travellers by placing grull DeNiro and
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the more sardonic Grodin in any numberoisiluations where their reliance upon each other lorces them into lriendship. The result is a pretty good buddy movie, that's also a consistently unpredictable road movie, that‘s also a quite smart cop movie. Director Martin Brest's last film was Beverly Hills Cop, but this is much better stuli, showing a mastery ol pacing a scene, and a winning way with a running gag. With two splendid leads, and a whole array ol endearing second-line characters, this a polished Hollywood evening out that displays the kind at easygoing Hawksian cratt all too rare these days. (Trevor Johnston)