Arnie becomes the underdog fightingto protect mother and child from another more advanced cyborg. With an element of uncontriyed human compassion lurking throughout the gloriously expensive action sequences. as Swarzenegger's cyborg develops human feelings. this is more than just a $100 million fairground ride. Glasgow: ('annon The Forge. Odeon. Edinburgh: Dominion. ()deon. UCI. Central: (‘aledonian. Regal. Strathclyde: La Scala. L'Cl (.‘lydebank. UCI East Kilbride. WMR Film (‘entre.
I Thelma a. Louise ( 15) (Ridley Scott. US. 1991 ) Susan Sarandon. Geena Davis. Harvey Keitel. Michael Mzidseri. 12‘) mins. The buddy'road movie genres are turned on their heads as Sarandon and Davis grasp the steering wheel and head offleaving a trail of murder and mayhem in their wake. On one level. the film isthe critical catalyst that had the feminists cheering and put the stars on the coyerof~ Time magazine; just as importantly. it's an accessible piece ofentertainment with excellent central performances. Glasgow: OFT. Edinburgh: Filmhouse.
I Tickets For The 200 (Brian (‘rumlish. UK, 1991 ) Alice Bree. Micky McPherson. Tom Smith. 90 mins. llard-hittingdrama from Edinburgh-based Cormorant Films. born from years ofdocumentary film-making. The central love story plays against a background of homelessness and unemployment in a way that. although genuinely thought-provoking. does not thrust the politics down the audience's throat. Excellent performances from the young cast add to the power ofthis‘ committed film that gets to the heart of some unpalatable social truths. Glasgow: GET.
I Torch Song Trilogy ( 15) (Paul Bogart.
JS. 1988). Harvey l‘ierstein. Anne Bancroft. Matthew Broderick. l 19mins. The story of Arnold. a New York drag queen's search for acceptance of his sexual orientation from his mother (Bancroft)
l i l I
Uranus (15) (Claude Berri, France, 1990) Philippe Noiret, Gerard Depardieu, Jean-Pierre Marielle, Michel Blanc. 99 mins. Given the talent involved both in front oi and behind the camera, Uranus (pronounced ooh-ran-ouss, by the way) is sure to attract the burgeoning post-Cyrano/Green Card audience tor Depardieu movies. Yet it also seems certain that the subject matter, detailing the various political manoeuvrings after the 1945 liberation, means a great deal more at home in France than it does abroad, making the film's talky sturm und drang compelling and relevant, ratherthan uninvolvingly irritating.
in an unnamed French provincial town, the spectre of the Occupation still casts a shadow, and by sheltering a iormer Fascist sympathiser, Vichyite bourgeois Archimbaud (Jean-Pierre Marielle) risks the recrimination of the local Communists who view themselves as the backbone oi the Resistance. Sharing his apartment with Party man Galgneux (Michel Blanc) and local teacher Watrin (Philippe Noiret), whose socialist principles have turned to a broad humanism after the death of his wife in an Allied air raid, Archimbaud’s actions are to put Ioudmouth barman Leopold (Depardieu) underthreat when CP zealot Jourdain (Fabrice Luchini)
randomly concludes that it must be the latterwho’s hiding the fugitive. As tension rises, it could be that the gregarious Leopold knows too much about what really went on in the town during the previous few years—the sort of inside information that wealthy and influential profiteer Monglat (Gerard Desarfhe) would be more than willing to suppress.
Even the most compact synopsis gives some indication oithe number of characters involved, each of whom represent a subtle gradation at political hue, yet to give each of them a chance to express their position results in an overcrowded narrative whose moments of incident are bogged down in a slough of ideological and pseudo-philosophical chatter. For all
the passions involved, Berri’s film never catches fire, hampered as it is by passages of typically Gallic self-important attitudinising, as represented by Noiret’s bathetic monologue in which he reveals that the cold planet Uranus haunts his dreams and strikes him down with metaphyscial anguish at the same time every night. Depardieu too, uttered a part that encourages the broadest of brush strokes, seems to be testing the level at outrageous hamminess he can get away with, culminating in a ludicrous death scene that’s bound to draw only sniggers. Definitely less _ than the sum of its parts. (Trevor Johnston)
From 24 Oct: Glasgow: GFT.
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