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and mutilation transcend the usual titillation of the genre and force the audience to question the use of murder as
entertainment. Simultaneously one ottne '
most important releases of recent years. and one recommended with caution. Edinburgh: Cameo.
I High Noon (U) (Fred Zinnemann. US. 1952) Gary Cooper. Grace Kelly. Lloyd Bridges. Lon Chaney. Thomas Mitchell. 85 mins. A marshall finds help in short supply when he defends his town against revengeful badmen. As the clock ticks towards noon. he must choose between honour and his new bride. Not just one of the best westerns. but one of the best films :ver. Glasgow: GFT.
I Highlander ( 15) (Russell Mulcahy. UK. 1986) Christopher Lambert. Beatie Edney, Sean Connery. 111 mins. A handful of immortals battle through the centuries to win a mythical prize. A curious mixture of romance in 16th century heather and car chases in present day New York. the film is an inelegant. often ludicrous. but enjoyably daffy
adventure. Lambert seems more at home ;
with the contemporary passages and only ‘
the ever wonderful Connery has the requisite style for the kitsch Scottish scenes. Edinburgh: Cameo.
I Highlander 2: The 0uickening(15)
(Russell Mulcahy. US. 1991) Christopher ‘
Lambert. Sean Connery. Virginia Madsen. Michael Ironside. 95 mins. In the year 2024, Connor MacLeod (Lambert) is a very old man who has saved humanity by replacing the ozone layer with a protective shield. But his future is threatened when his enemy Katana (lronsidc) returns from planet Zeist to kill him. His youthful energy and his decaptitated mentor (Connery) restored to him. MacLeod sets out to defend himself and all he stands for. Silly and illogical remake ofan already somewhat fanciful original. which nonetheless scores a few points for lavish visuals and ridiculous one-liners. Edinburgh: Cameo. Central: MacRobert Arts Centre.
I The Honeymoon Killers ( 18) (Leonard Kastle. US. 1969) Shirley Stoler. Tony Lo Bianco. Mary Jane Higby. 108 mins. Surely one ofthe most unusual entries in the serial killer genre. An overweight nurse and her Latin gigolo bump offa succession of spinsters and widows. Based on a true story and filmed in shady black and white. it is a bleak. but overlooked. oddity. Glasgow: GFT.
I I Know Where I'm Going! (U) (Michael Powell & Emeric Pressburger. UK. 1945) Wendy Hillcr. ROger Livesey. Finlay Currie. Pamela Brown. Nancy Price. 91 mins. Beautifully shot in black and white. this is an intriguing comedy romance with dark undertones. in which the young. confident Ms Hiller sets out to marry her
rich but elderly fiance in the Hebrides. but ‘
falls instead for Livescy's sexy young naval officer. The visual symbols. all drawn from the islands‘ natural landscape. underline the story‘s deeper resonances. Edinburgh: Filmhouse.
I Intimate Terror (18) (Walter Doehner. Mexico. 1991) Ofelia Medina. Arturo Beristain. Guillermo Sarur. 89 mins. Amongst the ruins of the 1985 earthquake that scarred Mexico City. a young couple discover the anxieties of their own love. A poetic and poignant thriller. Glasgow: GF'T.
I It Came from Outer Space (PG) (Jack Arnold. US. 1953) Richard Carlson. Barbara Rush. Charles Drake. Russell Johnson. 81 mins. Made in 3-D. this prototype ‘friendly alien' movie broke
some new ground. but also harbours some
pretty familiar stereotypes (tolerant. misunderstood scientist. shoot-first-ask-questions-latcr lawman) and some pretty naff acting. But there's are signs here of Arnold’s talent for atmosphere and composition (he went on to make The (’rearurefrom the Black Lagoon and The Incredible Shrinking
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/ Oscar (PG) (John Landis, 1991, US) Sylvester Stallone, Ornella Muti, Vincent Spano, Peter Riegert, Marisa Tomei. 110 mins. With this lightweight gangster comedy, Sly Stallone continues the process of Ieavening his Rocky/Rambo screen persona with humour and sell-mocking irony. Notorious 30s bootlegger Angelo ‘Snaps’ Provelone is begged by his dying father to give up crime, and agrees to go straight. The police don’t buy it, so they maintain a 24-hour watch on the house, thereby witnessing the confusing comings and goings as ‘Snaps’ battles to placate his embezzling book-keeper (Spano), his bitchy wife Sofia (Mull), his love-struck maid, his camp elocution teacher (Tim Curry), his suspicious-looking immigrant tailors, and his spoilt daughter, Lisa (Tomei). Identities are mistaken, doors slam, false assumptions are made, and ‘Snaps' discovers that going straight involves plenty of crooked logic.
Unable to establish an even tone, John Landls’s mosttightly directed film
3 formularlsedTouchstone product, with ?
since Trading Places careers from frantic farce, through broad Hunyonesque satire, to ails-style screwball comedy. The sets are expensive, the costume changes numerous, and despite a sluggish start, it picks up pace towards the end, as the multiplying romantic, financial and legal complications spiral into absurdity. The joke about Stallone’s elocution teacher is a smart one, and Sly himself explodes the myth that he mumbles because he can't string two words together, rattling oii reams of snappy dialogue and holding his own
alongside veteran character actors like Don Ameche. Ultimately, though, it’s a 3
classy production values, a streamlined script, and saleable star quality taking precedence over innovation and imagination. (Nigel Floyd)
From Friday 6 September. Glasgow: Odeon. Edinburgh: Odeon, UCI. Strathclyde: Odeon Ayr, Odeon Hamilton, UCI Clydebank, UCl East Kilbride.
Man). Edinburgh: Cameo. I Jules El Jim (PG) (Francois Truffaut. France. 1961 ) Jeanne Moreau. Oskar
Werner. Henri Serre. 105 mins. Truffaut‘s
early masterpiece. telling the comi-tragic tale of an eternal triangle straddling the First World War. Bohemian. mercurial Parisienne Catherine (Moreau) divides hcr affections between Jules (Werner) and Jim (Serre). whose deep friendship overrides their rivalry in love and their separation by war. But Truffaut has a salutory fare in store for the threesome. which is both devastating and poetic. Powerful stuff. Edinburgh: Filmhouse.
I Labyrinth (PG) (Terry Jones. US. 1986) David Bowie. Jennifer Connelly. 101 mins. Teenage girl has her baby bruv kidnapped by demon Dave. the King Of The Goblins. and so has to enter the fiendish labyrinth to get him back. Not bad family feature. with plenty offurry creatures to keep the kids happy. Edinburgh: Filmhouse.
I The Lady From The Shanghai Cinema ( 15) (Guilhermc de Almeida Prado. Brazil. 1989) Maite Proenca. Antonio Fagundcs. Paulo Villaca. Jose Lewgoy. 112 mins. When estate agent and former championship boxer Lucas (Fagundes) falls in love with thefemmefatale who leases a ﬂat from his company, he gets drawn into a web of murder and intrigue. An effective homage to Hollywoodfflms
noirs. notably the Orson \\ ellesclasslc referred to in the title. Glasgow: GET.
I The Last Picture Show ( 15) (Peter Bogdanovich. L'S. 1971)Timothy Bottoms. Jeff Bridges. (‘ybill Shepherd. Ben Johnson. Cloris Leachman. Randy Ouaid. 118 mins. The film that made Bogdanovich. far superior to its sequel Texasville. and indeed most ofthe director's other work. Set in small-town Texas in the 1950s. it captures the local atmosphere and the traumas of adolescence to perfection. focusing on the growing pains of a group of teenagers on the brink of adulthood. to whom the closure of the local cinema symbolises loss of youth and innocence. Edinburgh: Cameo.
I Looking For Langston ( 15) (lsaacJulien. UK. 1989) Ben Ellison. Matthew Baidoo. John Wilson. 45 mins. Based around the writings of Harlem poet Langston Hughes. young British directorJulicn‘s film is a stylish evocation of the lives of black gay men in the New York ofthe Twenties. Shot in gleaming monochrome. the langorous images ofdream and desire play against Hughes and contemporary author Essex Hemphill‘s meditations on the aesthetics of sexuality. Glasgow: GFT. I Love At Large ( 15) (Alan Rudolph, US. 1990) Tom Berenger, Elizabeth Perkins. Kate Capshaw. Anne Archer. Neil Young. 97 mins. Rudolph‘s latest isa
26 The List 30 August — 12 September 1991