Liebestrum (18) (Mike Flggis, UK, 1991) Kevin Anderson, Pamela Gidley, Bill Pullman, Kim Novak. 95 mins. Cast-iron buildings, vaginal lubrication, a repeated piano theme by Franz Liszt. Unlikely ingredients for a breathtaking exercise in cinematic dash, it has to be said, but just as Mike Flggis' previous oiierlng, the intense policier lntemal Ailairs, injected a strong element oi psycho-sexual argy-bargy into its iamiliar corruption theme, so Liebestrum brings a new twist oi pervy elan to the usual out-oi-the-past schtick.

Arriving in the aptly named small-time burg oi Elderstown, architectural theorist Nick Kaminsky (Kevin Anderson) is most chuiied to discover a prime example oi the aforementioned 19th century cast-iron building right there on Main Street. Signiiicant because they opened the way tor the skyscraper, this particular example is uniortunately about to be demolished by Kaminsky's iormer college pal Paul Kessler (Bill Pullman). As the by now successful academic stays around to investigate the structure in question, he iinds himseli irresistibly drawn to Kessler’s photographer spouse (Pamela Gidiey). Researching iurther into the place’s dark history however, he is about to uncover the startling connection between himseli, a dying patient in the

Liebestrum: ‘turned-on and unsettling adult entertainment'

local hospital and the unstoppable ? course oi his current amorous

obsession. As the intellectual Kaminsky iinds the

3 trouser department taking charge oi his ! life, the film creates an ongoing swoon oi erotic iervour that dissolves any

objections to the blatant contrivances oi the narrative. In case an early brothel scene that’s truly Lynchian in its blatantly twisted physicality tails to make it clear, we‘re in the realm oi pure style here, and the result is as turned-on and unsettling an adult entertainment as Alan Parker's Angel Heart set out to be but hardly came close to achieving. ll you'll pardon the expression, it's Figgis who’s pulled it oh. (Trevor Johnston)

From 10 Jan: General release.

Matador (18) (Pedro Almodovar, Spain, 1986) Assumpta Serna, Nacho Martinez, Antonio Banderas. 96 mins. That it‘s taken live years ior this typically ilorid Almodovar outing to reach British screens might be something to do with the tone oi the piece; it's somehow dark and ecstatic at the same time and as such rather removed irom the shocking uproariousness oi the likes of Women on the Verge ot a Nervous Breakdown and Tie Me Up! Tie Me Down! which have made his commercial reputation in this country. Taking to its logical conclusion the line oi thought that describes the moment oi orgasm as ‘la petite mort', Matador’s daring exploration oi the sexuality oi killing is played out against the gender role and expectation iostered by Spain's national obsession with the corrida. A trainee bulliighter (Almodovar regular Antonio Banderas) at the school run by iormer maestro Nacho Martinez sets out to prove his


Matador: ‘quite delirioust amoral.‘

machismo by coniessing to a series oi murders he didn't commit. At the same time, he has little idea that his swaggering deience lawyer (Assumpta Serna) takes her sexual pleasure in spiking her casual partners behind the neck and enjoying the illicit thrill oi coming as they expire. It is she rather than the too-sensitive Banderas who ranks as the real protege oi the mysterious Martinez who has taken, since his retirement, to playing out his murderous iantasies in the bedroom instead oi the bullring and so the stage is set tor a once-in-a-Iiletime coupling. Actually, as the happy pair tullil their mutual quest tor the exquisite, perfect and terminal climax, the viewer's libido is left positively boggling at the disturbing passion oi it all. Quite deliriously amoral, Matador may well be Almodovar's iinest to date. See it and redraw the deiinition oi sale sex. (Trevor Johnston)

From 5 Jan: Glasgow Film Theatre.

bullshit and thriller shoot-outs with fresh energy, creating a terrific movie that has one foot in reality, the other in an absurdist world. General release.

I Predator (18) (John MeTiernan. US, 1987) Arnold Schwarzenegger, Carl Weathers. Elpidia Carillo. 107 mins. Arnie and his dirty half-dozen are hired to enter a dense South American jungle to free a hostage. but lurking unseen in the foliage is a chameleon-like being waiting to skin alive any unsuspecting human to cross its path. Slow to build. but ultimately gripping macho mayhem with a real sense of threat. Edinburgh: Cameo.

I Predator 2 (18) (Stephen Hopkins, US, 1990) Danny Glover, Kevin Peter Hall. Gary Busey, Maria Conchita Alonso,

, Ruben Blades. 108 mins. The chameleon-like monster first encountered by Arnie in the Vietnam jungle is back, but this time its hunger for human flesh has brought it to Los Angeles, where the Police Department begins to receive unexpected assistance in its struggle against the gangleaders. Glover is the new star, a cop who finds his new ally to be even more dangerous than his old enemies. and the cat ‘n‘ mouse gore-chase which (let‘s face it) was good fun in part one is soon ‘to follow . . . Competent and sporadically thrilling sequel. Edinburgh: Cameo.

I Prince of Pennsylvania (15) (Ron Nyswaner, US, 1988) Fred Ward, Keanu Reeves, Bonnie Bedelia. Amy Madigan. 93 mins. Reeves plays a rebellious teenager stuck between a father who wants his son to follow him down the mine. and a mother whose free-ldve Sixties ideals come with their own bundle of problems. Together with hippy maiden Madigan. he hatches an absurd kidnap plan to resolve matters. Well detailed rites of passage drama, with its moments of quirky comedy. that also offers an intelligent analysis of the anachronistic Sixties ethos. Edinburgh: Filmhouse.

I Prooi (15) (Jocelyn Moorhouse. Australia. 1991) Hugo Williams, Genevieve Picot, Russell Crowe. 90 mins. A young blind man copes with his disability by taking photographs; he asks his new friend to describe them to him, confirming that the world he imagines matches that experienced by the rest of society. But when his jealous housekeeper intervenes. power games and deceit knock his life out of balance. Moorhouse's excellent debut feature examines emotional insecurities that affect us all. Edinburgh: Filmhouse.

I Prospero's Books ( 18) (Peter Greenaway. UK. 1991) John Gielgud. Michael Clark, Isabelle Paseo, Michel Blane. 125 mins. Greenaway transforms Shakespeare‘s The Tempest into a visual feast by using groundbreaking High Definition Television technology. Gielgud delivers a near-definitive Prospero. backed up by an impressive European cast. and Michael Nyman’s score is perhaps his best yet. A film like no other, immersed in illusion as both subject matter and form. Glasgow: GFT.

I A Rage In Harlem (18) (Bill Duke, US. 1991) Robin Givens, Forrest Whitaker, Gregory Hines, Danny Glover. 110 mins. All the elements of Chester Himes‘ 50$ pot-boiler are up on screen stolen gold, hoods. harlots. cons. sexy women and a lovestruck undertaker. The ex-Mrs Tyson is in cracking form as the femme fatale who is duping the innocent Jackson (Whitaker) in order to escape the clutches of her vicious former partner in crime. Glasgow: GFT.

I Rescuers Down Under (U) (Hendel Butoy/Mike Gabriel, US. 1990) With the voices of Bob Newhart, Eva Gabor, John Candy. George C. Scott. 77 mins. Miss Bianca and Bernard, the two top mouse agents from the international Rescue Aid Society. this time journey to the Australian outback in order to help an

eight-year-old boy protect an endangered


30 The List 20 December 1991- 16 January 1992

eagle from a ruthless poacher. Disney‘s

29th full-length animated feature uses state-of—the-art animation techniques to give more of an action/adventure slant to this sequel to 1977‘s The Rescuers, which is still a favourite of Disney fans of all ages. General release.

I River's Edge (18) (Tim Hunter, US, 1986) Crispin Glover, Keanu Reeves, Dennis Hopper. 99 mins. A motiveless murder is the catalyst for a moral crisis among a .group of teenage buddies. Challenging exploration of alienated youth and their attempts to forge a value system in a society of numbing moral blankness. Edinburgh: Filmhouse.

I Robin Hood: Prince 01 Thieves ( 12) (Kevin Reynolds, US. 1991) Kevin Costner, Morgan Freeman, Christian Slater. Alan Rickman. 147 mins. Second outing of the year for the Nottingham legend, this time with Hollywood‘s golden boy in the title role. Costner’s Robin slips into Indiana Jones mode as he sets about undoing the wrongs of Rickman‘s scene-stealing Sheriff in a way that is wonderfully reminiscent of the best Saturday matinee swashbucklers. General release.

I Rosencrantz And Guildenstem Are Dead (PG) (Tom Stoppard. UK, 1991) Tim Roth, Gary Oldman. Richard Dreyfuss, Iain Glen. 117 mins. Stoppard‘s own screen version of his first play. premiered at the Edinburgh Fringe in 1966. Set in the world of Hamlet, but with a new and highly quirky perspective on events, it presents Shakespeare‘s peripheral characters as existential fall-guys trying to work out how the situation brewing around them might relate to their future. Witty and very clever. but probably better on the stage. Edinburgh: Filmhouse.

I Shattered (15) (Wolfgang Petersen, US. 1991) Tom Berengcr. Bob Hoskins, Greta Seaachi, Joanne Whalley-Kilmer. 98 mins. Emerging from a car crash with body and mind intact. but with no memory of the events leading up to the ‘accident', Dan Merrick (Berenger) tries to piece together his life using only contradictory scraps of information. By letting the audience know only what Merrick does. Petersen (director of the acclaimed submarine epic Das Boot) cranks up an intelligent and exciting mystery thriller. General release.

I Silence 0i The Lambs (18) (Jonathan Demme. US. 1991) Jodie Foster, Anthony Hopkins. Scott Glenn. 119 mins. Following a series of horrific serial murders, imprisoned psycho-killer Hopkins is released to help Foster and Glenn's FBI agents track down the culprit. Adapted from a novel by Thomas Manhunter Harris, Demme's film version is a subtle but scary suspense shocker. with two excellent performances and great narrative drive. Edinburgh: Cameo. Filmhouse.

I Suburban Commando (PG) (Burt Kennedy. US. 1991) Hulk Hogan, Christopher Lloyd, Shelley Duval, Larry Miller. 91 mins. Professional wrestler and over-the-top star Hulk Hogan takes the small step from the ring to the big screen to appear as Shep Ramsey. an intergalactic crusader marooned on Earth, who sets about cleaning up the neighbourhood. But soon his heroic deeds are threatened by the arrival of a pair of alien bounty hunters. Silly plot and cheapo special effects aside. this is not the dire kiddies‘ movie that the above synopsis would suggest enough laughs are milked out of the situation to make for a relatively painless cinema sitting. General release. I Sweetie (15) (Jane Campion, Australia. 1989) Genevieve Lemon, Karen Colston. Tom Lycos. 100 mins. Controversial debut feature from New Zealand born Campion follows the fortunes of two sisters, the quiet, nervy Kay (Colston) and the unpredictany psychotic Sweetie (Lemon). whose behavioural cccentricities involve eating china ornaments and painting herself blue, as the pair try to resolve their emotional and familial conflicts. Boldly scripted and