Shocker (18) (Wes Craven, US, 1989) Michael Murphy, Peter Berg, Mitch Pileggi. 110 mins. With the Nightmare on Elm Street Movies taken away from his control by profit-hungry producers, Wes Craven here attempts to reinvent Freddy Krueger in a different guise. Pileggi's Horace Pinker (another name to roll off the tongue) is a television repair man with a nifty sideline in murdering local families, while his son Jonathan (Peter Berg) has been adopted by Police Lieutenant Don Parker (the line Michael Murphy). The youngster has an unusual relationship to the killer, because he dreams Pinker’s murders before they occur and thus has the opportunity to help prevent the real-life atrocities.
After a few massacres, including a spectacular shoot-out in Horace’s telly emporium that sees oil a clutch of police officers, the villian is apprehended, convicted and fried in the electric chair. Conveniently though, Pinker’s pact with the devil means that this supposed execution serves only to increase his power,
affording him the ability (first seen in
The Hidden) to spirit himself from host body to host body and even get around through electric power points and wiring. It's the kind of virtuosity that culminates in a fantastic pursuit in and out of the television screens and even the programmes in ioiks’ living-rooms. Craven's best work has always been driven by charismatic villains, and Mitch Pileggi, like Robert Englund's
. Freddy Krueger before him, exudes the
correct degree of malevolence. Dressed in an orange prison outfit with a natty black and white stripe, Horace shows all the signs of becoming another classic Craven anti-hero, and while Shocker may not be as consistent as Nightmare on Elm Street, there are enough interesting elements to make it more than worth a passing glance. (Jeremy Clarke)
From Fri 20. Glasgow: Odeon. Strathclyde: UCI Clydebank, UCI East Kilbride.
stunning wile than plain and plump secretary Belasko, who nevertheless turns out to be both sweet and sensual. With customary bravado Blier turns domestic cliche on its head. (ilasgow: GET.
I Uncle Buck(12) (John Hughes. US. 1989) John Candy. Amy Madigan. Gaby Hoffman. 100 mins. llughes' prolific career as maestro of teenage angst continues unabated inthis latest comic outpouring on the traumas and trivialities ofgrowing up. Candy's Buck initially appears to be an overweight.clumsy. tactless slob. the last person you‘d ask to look after your kids. but here he getsthe chance to look after three of his brother‘s kids for the weekend. The film explores
MAYFEST COMPETITIONS PAGE 87
26 The List 20 April — 3 May 1990
his troubled relationship with a confused adolescent. as they release their individual frustrations before coming to a mutual understanding. A carefully plotted and well scripted moral fable living up tothc standards expected from the directorof The Breakfast Club. Glasgow: Cannon The Forge. Cannon Sauchiehall Street. Grosvenor. Edinburgh: Cannon. Central: Cannon. Strathclyde: Cannon. UCI Clydebank. UCI East Kilbride.
I Underthe Cherry Moon ( 15) (Prince. US. 1986) Prince, Steven Berkoff. Victor Spinetti. 100 mins. Stylish but exceedingly silly tale of l Iis Purpleness wowing the ladies in the South of France as agigolo adventurer (snigger). The filmic equivalent of vanity publishing. Edinburgh: Filmhouse.
I The Untouchables (PG) (Brian De Palma. US. 1987) Kevin Costner. Sean Connery. Robert De Niro. Charles Martin Smith. Patricia Clarkson. 119 mins. David Mamet‘s highly entertaining update ofthc old TV series. Eliot Ness learns the hard way how to deal with underworld crime and police corruption in Chicago during
the Prohibition years. An Oscar-winning performance from Connery as the seasoned Irish Cop with a Scots accent, and De Niro turns in a grandiose Capone. Glasgow: Grosvenor. I Venus Peter (12) (Ian Sellar, UK,1989) Ray McAnaIly, Gordon R. Strachan, David Hayman. 92 mins. Affecting adaptation shot on Orkney of Scots writer Christopher Rush's impressionisticA Twelvemonrh And A Day, set in a ﬁshing village in the 19505. One of McAnally's last roles casts him beautifully as the sympathetic grandfather of Peter, played by nine-year-old Strachan (who is not to be confused with the diminutive Scottish midfield genius) in this moving study of a dying community seen through the eyes of a young boy. Edinburgh: Filmhouse. I Vincent, Francois, Paul et Les Autres (15) (Claude Sautet, France, 1974) Yves Montand, Michel Piccoli, Gerard Depardieu. 118 mins. Smartly made and well performed insight into the Parisian middle class lifestyle, focusing on a group of old friends in their later years, while the ‘others’ include a selection of women in the process of leaving their male companions and husbands. Emotional trauma and identity crises provide the core material as the group rely on each other for support. Typical Sautet production , offering an insightful showcase for its popular cast. Glasgow: G171". I The War at the Roses (15) (Danny DeVito, US, 1989) Michael Douglas, Kathleen Turner, Danny DeVito, Marianne Sagebrecht. 116 mins. Glasgow: Cannon The Forge, Odeon. Edinburgh: Dominion, Odeon. Central: Caledonian. Strathclyde: Kelburne, Odeon Ayr, UCI Clydebank, UCI East Kilbride. I What Have I Done To Deserve This? (Pedro Almodovar, Spain, 1984) Carmen Maura, Luis Hostalot. 100 mins. From the camera that brought you Women On The Verge. . ., an earlier, more surreal vision of desperation, sex and bizarre familial interactions in middle-class Spain. The central role is again played by a distracted Maura, this time as a housewife coping with her depression and her ghastly family by taking a wee snort of cleaning ﬂuid with her prescribed amphetamines. Another gem. Edinburgh: Filmhouse. I The Wolves of Willoughby Chase (PG) (Stuart Orme, UK, 1989) Stephanie Beacham, Mel Smith, Geraldine James. 93 mins. Based on the eponymous book by Joan Aitken the film is set in a wolf-infested Victorian Britain. Beacham is the villainess in charge of the mansion to which the young heroes are sent. A rather scarey adaptation is brightened considerably by superb production design by Derek Jarman's regular chum and collaborator Chris Hobbs. Edinburgh: Filmhouse. I Women On The Verge Of A Nervous Breakdown (15) (Pedro Almodovar, Spain, 1988) Carmen Maura, Antonio Banderas, Julieta Serrano. 98 mins. When Pepa‘s illicit affair with an older man is abruptly terminated. she sets out for revenge, but is distracted by a succession of offbeat visitors seeking her calming influence. A splendidly bizarre character comedy from the maker of Law OfDesfre, with some off-the-wall acting and a plot that pays ironic but affectionate homage to the classic Hollywood comedies of the 19505. Edinburgh: Filmhouse. I Young Scottish Film-makers (15) A programme of films by graduates of the National Film & Television School. organised in conjunction with BAFTA Scotland. The first offering, Tin Fish by Paul Murton. follows the story of Vic. A taxi driver in a Clyde coast town,where the majority of customers are US servicemen from the local naval base. Jim Shields‘ Alabama represents Scotland‘s ‘New Wave‘ talent and Douglas Mackinnon‘s Ashes traces a return to Skye for a father‘s funeral. A short discussion will follow the screenings. Glasgow: GET.
LISTINGS WEEK ONE
Friday ZO—Thursday 26
Readers are advised that programmes may be subject to late change at any time. [D] indicates that wheelchair access is available, though prior notification is advisable. [E] indicates the availability of an induction loop, for the convenience of hearing aid users.
I CANNON Clarkston Road, Muirend, 637 2641 . £2.50 (Child/OAP£1.50). 1. The Hunt For Red October (PG) 4.30pm, 7.50pm. The Rescuers (U)(Sat only) 2.20pm. 2. SKI Patrol (PG) 2.35pm (Sat only), 5.35pm, 8.35pm. I CANNON The Forge, Parkhead, 556 4282/4343. [D]. [E] (screens 1, 3 and 5). Shows commencing before 6pm £1.75; after 6pm£3 (Child£1 .75). 1. Look Who's Talking (12) 1.15pm, 3.45pm, 6.05pm, 8.30pm. 2. The Hunt For Red October (PG) 2pm, 5.10pm, 8.10pm. 3. SKI Patrol (PG) 1.15pm,3.40pm, 6.30pm, 8.50pm. 4. All Dogs GoTo Heaven (U) 1.10pm, 3.25pm. The War OtThe Roses ( 15) 6.05pm, 8.35pm. 5. Uncle Duck (12) 1.20pm, 3.45pm, 6.05pm, 8.40pm. 6. Honey, I Shrunk The Kids (U) 1.10pm, 3.55pm. Tango And Cash (15) 6. 15pm, 8.45pm. 7. The Rescuers (U) 1.30pm,3.45pm. Shirley Valentine (15) 6. 10pm, 8.40pm. See also Glasgow Lates. I CANNON Sauchiehall Street, 332 1592. £3 (Child £1.60; OAP [before 6pm] £1.60). Two bars open 6—9.30pm (Mon—Sat); 6.30-9.30pm (Sun). 1. Ski Petrol (PG) 1.10pm,3.30pm, 5.45pm, 8.25pm. 2. The Hunt For Red October (PG) 1.15pm, 4.30pm, 7.45pm. 3. Uncle Buck(12) 2.15pm,5.15pm, 8.15pm. 4. My Left Foot (15) Fri, Sun-Thurs 2.20pm, 5pm, 8.20pm; Sat3.35pm, 5.55pm, 8.25pm. Courage Mountain (U)(Sat only) 1.10pm. 5. Tango And Cash (15) Fri, Sun—Thurs 2pm, 5pm, 8.20pm; Sat 3. 10pm, 5.35pm. 8.20pm. The Rescuers (U)(Sat only) 1.20pm. I CITY CENTRE ODEON Renfield Street, 332 8701. Licensed bar. [D] screens 2, 3 and 4. £2.95 (Child/OAP£1.75 [£2.251asl show]; Student/U840 £2.25 [available as advertised]). Luxury seats also available in screen 1£3. 10, £3.50. All tickets for shows commencing before 1.30pm £1.75. Advance booking available from box ofﬁce (1 lam—7.30pm) or by Visa/Access hotline (333 9551). 1. Look Who’s Talking (12) 12.45pm. 3.30pm, 6pm, 8.50pm. 2. All Dogs Go To Heaven (U) 12.30pm. 3pm, 6pm. The War of the Roses ( 15) 8.40pm. 3. The War otthe Roses (15) 12.15pm, 2.45pm. 5.30pm. 8.40pm. 4. Honey, i Shrunk the Kids (U) 12.30pm, 3pm, 5.45pm. Steel Magnolias (PG) 8.40pm. 5. Chicago Joe and the Showglri(18)1pm, 3.30pm. 6.05pm, 8.45pm. 6. Shocker(18) 12.45pm, 3.15pm,6pm, 8.45pm. See also Glasgow Lates. I GROSVENOR Ashton Lane, Hillhead, 339 4298/7814. £2.50 (Student/U840 £2; Child/OAP £1.50). Seats can now be booked for last evening and late screenings: the box office is open 2—7Pm'