McEwan‘s short novel of sexual power games and the perception-warping possibilities of culture shock is inherently hard to film. Sehrader and his excellent east give it their best shot. the Venetian locations and sets are luscious and Harol Pinter's screenplay is surprisingly faithful. But the narrative tension and pace on which the novel relies are conspicuously absent. Edinburgh: Filmhouse.

I Le Crime De Monsleur Lange (PG) (Jean Renoir. France. 1935) Rene Lefevre. Jules Berry. Odette Horelle. 90 mins. The employees of a publishing firm set up a collective when their lecherous and oppressive boss mysteriously disappears. Renoir‘s comedy-thriller-romance combines fantasy. politics and naturalism. making this one ofhis most completely enjoyable movies. Glasgow: GET.

I Dart Star (PG) (John Carpenter. US. 1974) Brian Narelle. Dre Pahich. Cal Kuniholm. Dan O‘Bannon. 83 mins. Carpenter‘s excellent. low-budget debut has four 22nd Century astronauts and their extra-terrestrial pet freaking out on an interminable journey through space. Witty and ironic. it satirises US society. popular culture and 2001 : A Space Odyssey while providing solid entertainment. Glasgow: GET. I The Dead Zone ( 18) (David Cronenberg. US.

1983) Christopher Walken. Brooke Adams. Tom Skerrit. 103 mins. A schoolteacher survives a car crash only to find he has second sight; soon his psychic powers lead him into confrontation with an ambitious politician. Cronenberg eschews his usual visceral style and plumps instead for a more brooding thriller that utilises Walken's skeletal features to their best advantage. Edinburgh: Filmhouse.

I Death In Brunswlek ( 15) (John Ruane. Australia.

1991 ) Sam Neill. Zoe Caridcs. John Clarke. 105 mins. Carl. a cook in a sleazy Melbourne dive. gets involved in a crazy mix of sex‘n‘drugs'n‘rock'n'roll when he falls for a fellow waitress. Falsely suspected of murder and arson. he ends up on the run in what has to be the strangest. blackest. most hilarious oddity to come from Down Under in recent years. Edinburgh: Filmhouse.

I Dellcatessen (15) (Jean-Pierre Jeunet/Marc Caro. France. 1991) Dominique Pinon. MarieoLaure Dougnac. Jean-Claude Dreyfus. 99 mins. In a sepia wasteland somewhere in the future. a butcher feeds his neighbours with the juicy joints ofhis lodgers. But when former clown

Louison (Pinon) arrives and falls for his daughter. an underground vegetarian resistance group come

to the rescue. Hilarious blend of bizarre characters. slapstick and comic tension makes for the first true cult item of the '905. Edinburgh: Cameo.

I Don't ‘I’ell Mom The Babysitters Dead(12) (Stephen Herek. US. 1991)Christina Applegate. Keith Coogan. Josh Charles. 95 mins. In a somewhat dubious plot development. the elderly babysitter of five kids left at home for the summer kicks the proverbial bucket. leaving the teensto learn how to work together. accept responsibility. etc. etc. For all that. it‘s fairly amusing youth fare that grabs its various sub-plots with both hands. Strathclyde: La Scala. UCI Clydebank. UCI East Kilbride.

I The Double Llfe ot Veronlque ( 15) ( Krzystof Kieslowski. Poland/France. 1991) Irene Jacob. Phillppe Voltcr. Alexander Bardini. 110 mins. Two girls one Polish. the other French are born at the same time on the same day and come to discover that their fates are bound up together. An eerily fascinating and disturbing erotic dance of love and death from the director of Dekalog (The Ten Commandments). with an extraordinary

twin performance by Cannes award-winner Jacob. Glasgow: GET.

I Own By LII(15) (Jim Jarmusch. US. 1986). John Lurie. Roberto Benigni. Tom Waits. Three petty crooks in New Orleans find themselves framed (‘down by law') and imprisoned in the heart of the Louisiana swamps. They escape. but the jailbreak is hardly relevant (and hardly explained either) the crux of the film lies in the relationship between the three men as they make their hazardous way through an alien environment. Benigni just steals the honours from his better-known comrades in Jarmusch‘s splendidly off-beat . monochrome comedy. Glasgow: GET.

I Drugstore Cowboy ( 18) (Gus Van Sant Jr. . US. 1989) Matt Dillon. Kelly Lynch. James Remar. William S. Burroughs. 100 mins. A gang ofdope fiends. headed by our Matt. blithely rip off a series of drugstores in Gus Van Sant‘s recreation of 1971 Oregon. Complete with its halucinatory visions of flying cows. the film created a stir stateside for presenting the theft and use of narcotics as an alluring pastime. It marks a new and more creditable milestone in Hollywood drug movies. Edinburgh: Cameo.

I Dune (PG) (David Lynch. US. 1985) Kyle McLachlan. Sting. Kenneth McMillan. 133 mins. lncomprehensiblc attempt by an unsuitable filmmaker to come to terms with Frank Herbert's

sprawling sci-fi bestseller. Spectacular production


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design and a few moments of characteristic perversity only do so much to distract the

attention from story-telling of numbing ineptitude. Glasgow: GET. I The Dyhllllk (PG) (Michael Waszynski. Poland. 1938) Abram Morewski. Lilli Liliana. Dina Halpem. 125 mins. This Yiddish language version of Ansky‘s play tells the supernatural tale of a young bride possessed by the soul of her true love. Immersion in Jewish culture is total - from the opening shots in a synagogue to the marvellous moments of singing and dancing. Glasgow: GET. I Frankle and Johnny ( 15) (Garry Marshall. US. 1991) Al Pacino. Michelle Pfeiffer. Hector Elizondo. Kate Nelligan. 117 mins. Despite some feminine resistance. love begins to sizzle between disillusioned waitress Frankie (Pfeiffer) and short order cook Johnny (Pacino). Wann-hearted romance. with side orders of cliche and diner realism. from the man who brought you Pretty Woman. Edinburgh: Cameo. I Freddie A8 F.R.0.7. (U) (Jon Aeevski. UK. 1992) With the voices of Ben Kingsley. Jenny Agutter. Brian Blessed. Nigel Hawthorn. A French prince turned into a frog becomes ?.R.O.7. . the toast ofthe secret service. A quick top and he‘s over in Britain. trying to find out why .op national monuments are disappearing. The irst in a planned series of animated features is :ertainly well cast in the voice department. but the mimation reminds you more of the substandard world of Da'ngennouse Gencra' I"Bufasc. . I Fried Green tomatoes at the Whlstle Stop Cafe (12) (Jon Avnet. US. 1991) Kathy Bates.Jessica Tandy. Mary Stuart Masterson. Mary-Louise Parker. 130 mins. After the local Ku Klux Klan threatens the busy cafe in Whistle Stop. Alabama for serving coloured customers. the female owner and her black handyman find themselves on trial for an unsolved murder. A chronicle of courage and ingenuity that avoids becoming as overwhelmingly heart-warming as one might have feared. Not the most tantalising item on the menu. but a flavoursome little dish nonetheless. Edinburgh: Filmhouse. IN "and That flocks the Cradle ( 15) (Curtis Hanson. US. 1991) Rebecca De Mornay. Annabella Sciorra. Matt McCoy. 110 mins. Nanny manages to con her way into the home of the family who inadvertantly caused her husband‘s suicide and her own miscarriage. and soon begins to show psychotic tendencies. Despite implausible plotting. director Hanson cranks up the tension and delivers a slap-bang finale. In other words. beautifully crafted mainstream trash. Glasgow: Odeon. Central: MacRobert. Strathclyde: Magnum. All UCIs. I Hearts of Darkness ( 15) (Fax Bahr/George Hickenlooper. US. 1990) Francis Cappola. Eleanor Coppola. Martin Sheen. Marlon Brando. 97 mins. Compelling mixture of documentary footage and recent interviews concemingthe troubled production of Francis Coppola‘s Apocalypse Now. Artistic vision battles with escalating budget. typhoons and heart attacks deep in the Philippine jungle. As importantand fascinating as the film it portrays. Glasgow: GET.

I high Heels ( 15) (Pedro Almodovar. Spain. 1991) Victoria Abril. Miguel Bose. Marisa Paredes. 115 mins. More melodramatic frolics from Spain's finest. this time in the shape ofa murderous triangle between a mother. her daughter and the latter's husband. While Almodovar isn't quite at his best. Abril excels as the TV news presenter who admits on air to her hubby's killing. Edinburgh: Filmhouse.

I Hook (PG) (Steven Spielberg. US. 1991) Robin Williams. Dustin Hoffman. Julia Roberts. Bob Hoskins. 135 mins. The combination of Robin Williams. Steven Spielberg and Peter Pan proves to be as successful in practice as it appears in theory. if the film is watched in the proper childish frame of mind. The story of a grown-up Peter rediscovering his true identity allows for some fortysomething pondering. but primarily it‘s an excuse for a magical journey around pirate ships. lost islands and colourful fights. Sure. it‘s formulaic; but Spielberg's ingredients are richer and more wonderfully cinematic than anyone else‘s. Central: MacRobert. Fife: Adam Smith. Strathclyde: Odeon Ayr. All UCIs.

I Hot Shots ( 12) (Jim Abrahams. US. 1991) Charlie Sheen. Cary Elwes. Valeria Golino. Lloyd Bridges. 87 mins. In the hands of. say. Tony Scott. this could have been a star-Spangled action adventure; in the hands of Jim Abrahams. however. it becomes another Airplane.” Top Secret spoof that sends up the macho world of fighter pilots. Thankfully the rapid-fire wit and visual gags score as many hits as misses. but post-Gulf War timing and an ad line that bills it as ‘the mother of all movies“ kick it into a rather dubious satirical league. Edinburgh: Cameo.

I "mm Earl (PG) (James Ivory. UK. 1992) Anthony Hopkins. Vanessa Redgrave. Helena Bonham Carter. Emma Thompson. 142 mins. After a succession of dreary Forster clones. the British film industry gets round to tackling his masterpiece. and one of the most important novels of the 20th century. The story. centring on

the marriage between a wealthy and reactionary old duffer and an emancipated younger woman. is a mmplex family chronicle told with clarity and compassion. At last a cinematic period drama that exudes excellence. with some finely crafted performances to match. Edinburgh: Dominion. IK2(15) (Franc Roddam. US. 1991) Michael Biehn. Matt Craven. Raymond J. Barry. Hiroshi Fujioka. 111 mins. Exciting location filming is marred by predictable buddy and climbing cliches as two friends join a billionaire‘s expedition to tackle the world's second highest but most dangerous mountain. Attempts to supplement themes of man against nature with some self-discovery are lost in an avalanche of pretentiousness. Better by far are the documentaries on the making of the movie. Strathclyde: UCI East Kilbride.

I King 01 New Yort(18) (Abel Ferrara. US. 1990) Christopher Walken. David Caruso. Larry Fishbume. Victor Argo. Wesley Snipes. 104 mins. Extremely violent and amoral account of New York drug lord Frank White (Walken). who kills quite a few people but is really a decent cove. whose dream is to open a hospital for the people of his native South Bronx. A twisted tale oferiminal loyalty and glamorised violence which wastes the considerable talents of its leading actor. At least Arnie does it with a sense of humour. Edinburgh: Filmhouse.

I Last Year In Marlenbad (U) (Alain Resnais. France/Italy. 1961) Delphine Seyrig. Giorgio Albertmi. Sacha Pitoeff. 93 mins. Evocative and enigmatic tale of a man who meets a woman in a rambling hotel. and believes he had an affair with her the previous year. Past blends with present to the point where they are indistinguishable. and you can only really enjoy it if you don‘t worry too much whether they did or didn‘t. Not one for Blind Date enthusiasts. Glasgow: GET.

I LII of 008er (18) (Pedro Almodovar. Spain. 101 mins) Eusebio Poncela. Carmen Maura. Antonio Baderas. 101 mins. Notorious filmmaker Pablo moves through a decadent lifestyle of sensual pleasure. his only real concern for his transsexual brother-turned-sister. However. when he falls for government minister‘s son Antonio. a nightmare of manipulation and deceit is to follow. Flamboyant Spanish iconoclast Almodovar‘s exaggerated sexual farrago is interesting as a sort of overheated melodrama. though the lack of narrative control near the end does let the film down. Glasgow: GET. Edinburgh: Filmhouse.

ITho Wt Man (15) (Brett Leonard. UK/US. 1992) Pierce Brosnan. Jeff Fahey. Jenny Wright. 108 mins. Backward gardener (Fahey) is the subject ofexperiments to increase learning potential using drugs and Virtual Reality technology. Cue weird side effects and telekinetic powers. Unfortunately the plot (which has hardly anything to do with the Stephen King short story) is little more than a ludicrous twist on the Frankenstein format and is basically just there as an excuse for some admittedly stunning. computer-animated special effects. Glasgow: Odeon. All UCIs.

I the Oi orlan (15)(Terry Jones. UK. 1979) Graham Chapman. Terry Jones. John Cleese. Michael Palin. Eric Idle. 93 mins. The Gospel According to Monty Python offended a whole host of religious dominations upon its initial release. which rather obscured the fact that behind the controversy lay their most sustained humour to date. A host of very funny setpieces and smart cameos from all the team climaxes in a rather fetching musical crucifixion. Edinburgh: Filmhouse.

I The Lover ( l8) (Jean-Jacques Annaud. France/UK.1991)Jane March. Tony Leung.

Jeanne Moreau. 117 mins. In l920s Saigon. a fifteen year old girl has a steamy affair with a Chinamantwicc her age. Er. . . that‘sit. Annaud’s big screen translation of Marguerite Duras’s autobiographical novel is fairly erotic for the first half hour. then moves swiftly into relentless arthouse tedium. This really is the cinematic equivalent of wading through French literature of an intellectual bent. Glasgow: Cannon Sauchiehall Street. Edinburgh: Cannon. Fife: Glenrothes.

I Macbeth (15) (Roman Polanski. UK. 1971)Jon Finch. Francesca Annis. Martin Shaw. 140 mins. Blood-soaked version of Shakespeare's turbulent Scots tragedy which manages to convey the play‘s pervasive spirit of evil. The Polc‘s dark imagination provides scenes of horror encompassed in a brooding vision of fate. mortality and power. Edinburgh: Filmhouse.

I The Mambo Kings (15) (Arne Glimcher. US. 1991) Armand Assante. Antonio Banderas. Cathy Moriarty. 111 mins. Musician brothers in mambo melodrama! Swinging siblings in seduction stand-off! Forget the plot - it just trots out some tried and tested notions of fraternal rivalries (Fabulous Baker iBoys) and big band wannabees (The Commitments) - and enjoy the colour. the congas. those hot beats and super-sexy. Almodovar regular Banderas in his English dialogue debut. Edinburgh: Filmhouse.

15 The List 17-30Ju1y 1992