was shocked by the murder of Honora Parker by her teenage daughter and a schoolfriend. Despite director Peter Jackson's back catalogue in slapstick gore - Brutal/earl. Bad Taste - Heavenly C reaturer does not dwell on the rttore lurid details of the crime. Instead. it examines the imaginative fantasy worlds of the girls artd the strength of their friendship in a sympathetic light. Fife: Adam Smith.
I highlander 3 (15) (Andy Morahan. US. 1994) Christopher Latttbert. Mario Van Peebles. 98 mins. Similar more to the original than the lamentable sequel (even down to mirroring sorrte scenes). the third and (we pray) final instalment takes Macleod to the French Revolution and modern New York to do battle witlt sorcerer Van Peebles. We wish there could have been only one. Glasgow: Grosvenor.
I Ilotr To Be A Woman And llot Die In The Attenpt (15) (Ana Belen. Spairt. 1991) Carmen Maura. Antonio Resines. 89mins. Carmen is married to a typically macho Spaniard. and she's having trouble juggling work and home life. Thankfully. Maura's performance has a crucial sense of versimilitude that prevents the message- laden script from becoming heavy-handed. Her seen-it-all toughness. underpinned by trademark vulnerability. pretty rttuch sums up this character‘driven drama. Glasgow: GFT.
I The liutlsuclter Proxy (PG) (Joel Coen. US. 1994) Tim Robbins. Jennifer Jason Leigh. Paul Newman. lIl rttins. When Hudsttcker lndustries' boss takes a dive frortt art upper storey boardroom window. mailroom boy Noryille Bames (Robbins) ﬁnds himself catapulted to executive status. But pretty soon he's forgottert his roots arid is becoming as heartless as his manipulative mentor. played by Paul Newman. A winning blend of 40s screwball :omedy. 50s consumer quirks artd satire on 80s :orpor'ate greed. the Coen brothers‘ latest is :inernatic fantasy irt its purest form. Fife: Adam Smith.
I I like It like That (15) (Darnell Martin. US. 1994) Lauren Velez. John Seda. Grifﬁrt Druute. 106 ntins. A sparky debut by twentysorttething writer-director Martin sltows the influence of Spike Lee. but ltas a refreshingly female perspective. Forced to take a job witlt a record :ompany when her husband is ptrt irt jail. Lysette faces typical sex. class artd race obstacles. A pumping Latin soundtrack adds to the buzz. See review and feature. Edinburgh: Filmhouse.
I Immortal Beloved ( 15) (Bernard Rose. US/UK. 1994) Gary Oldman. Jeroen Krabbe. Isabella Rossellini. 120 ntins. Taking the route of a ﬂashback romantic mystery rather than a traditional biopic. Rose's investigation into the loves of Beethoven's life ends up revealing actually revealing more about the composer's state of mind and his music. Unfortunately the direction frequently plods along. but the ﬁnal ‘Ode To Joy' set-piece is worth the weight and Oldman captures Ludwig's frustration with his deafness to perfection. See review. Glasgow: MGM Film Centre. Edinburgh: UCl.
I International Zeitgeist Part 2 120 mins. New Visions presents a mix of ﬁlnt. video and computer-generated work which deals. on a broad basis. with deﬁnitions of the body. sexuality and cultural identity. The work screened comes from Italy. the USA. Ireland. Poland. Canada and the UK. and their will be ample time for discussion afterwards. Glasgow: Street Level Gallery.
I IO (U) (Fred Schepisi. US. 1994) Tim Robbins. Meg Ryan. Walter Matthau. 96 mins. Brainy. ditzy mathematician Meg Ryan is engaged to pompous academic Stephen Fry. but she would be drawn to easy-going car mechanic Tim Robbins if it wasn't for the fact that she believes a good marriage is founded on a meeting of minds. Enter her uncle. Albert Einstein (a brilliant comic caricature by Walter Matthau) who decides to experiment with sexual chemistry. A delightful period comedy that really does capture the old-fashioned spirit of Capra and Sturges. Glasgow: MGMs.
Edinbu h: Dominion. UCI. Strathclyde: UCls. I Irish ine caberet A selection of work by young lrish ﬁlmmakers with an accompanying exhibition and opportunity for Scottish-based colleagues to compare respective situations. See Rushes. Glasgow: Tramway. Edinburgh: La Belle Angel.
I Jesus Of Montreal ( l8) (Denys Arcand. Canada. 1989) Lothaire Bluteau. Catherine Wilkening. Johanne-Man'e Tremblay. 120 mins. Hired to revamp a Catholic passion play. Bluteau enlists four actors from diverse sources. casts himself as Jesus. and sets to work on a stunningly radical version of his own. Arcand's follow-up to Decline Of The American Empire is chockful of twists. surprises and incisive satire. Finely acted. elegantly ﬁlmed and always intriguing. Glasgow: GFT.
I that 0m (18) (Anre Glimcher. US. 1995) Sean Connery. Laurence Fishbume. Kate Capshaw. 102 mins. A distinguished law lecturer (Connery) is tempted back into the front-line by
racial injustice over a man on Death Row and. for a man of pensionable age. copes well with the subsequent chases. punch-ups and swamp alligators. Sean scowls and swears to prove he's earnest. Ed Harris's clue-giving serial killer rips Off Silence Of The Lani/rt. and the whole thing turns into a thriller eager to borrow fromjust about everywhere. See review. General release. I The Killing 0f Sister George ( 18) (Robert Aldrich. US. 1968) Beryl Reid. Susannah York. Coral Browne. 138 mins. Reid plays an aging actress ﬁred frortt a TV soap. and ﬁnding her life irt general artd her relationship with her girlfriend (York) irt partrcrrlar collapsing around her. Aldrich. the master of gram/guignu/ excess like Whatever Happened Ta Baby Jane I’. was entirely the wrong director for this screen version of Frank Marcus's celebrated play. arid the result is a leerrng piece of gr'oresquerie that lacks compassion or understanding of the central characters. Edinburgh: Cameo.
I The Land Before ﬂute ((7) (Don Bluth. US. 1989) 86 rttins. Orphaned Brontosaurus Littlefoor. who loses his rmrrn to the claws of a rtasty Tyrannosaurus Rex. teattts tip with a gang of similarly parentless wee dirtos to undertake the hazardousjourney across country to the safety of the Great Valley. Classically drawrt and chockful of edifyittg moral lessons. this is solid entertainment perfectly tailored to the demands of its target atrdience of very young children. Strathclyde: Cannon.
I leon(18)(1.uc Besson. France. 1994) Jean Reno. Nathalie Portman. Gary Oldrnart. 110 rttirts. When his neighbour's farttily is wiped out by crooked cops on a bungled drugs bust. ice cool hitman Leort ﬁrtds himself looking after the sole survivor — twelve-year-old Mathilde. l-uc Besson's ﬁrst ﬁlm in Ertglislt is. nevertheless. a French ﬁlrrt irt terms of style. editing and its boldness irt story and theme. It's good to see that the director has finally got over the all-style-rto~ content obstacle. Glasgow: Odeort. Edinburgh: UCI.
I lift to the Scaffold (PG) (Louis Malle. France. 1957) Jeanne Moreatr. Maurice Ronet. Georges l’ortjouly. 90 mins. Considered quite a gripping thriller it) its day. Malle's first dramatic feature hinges on a perfect crirtte of murder that does not go according to plan. The cool noir elements are still effective. the Miles Davis score still sets a decadent tone. and Moreau is still glowing on screen. Edinburgh: l‘ilmhouse. I lilith (18) (Robert Rossen. US. 1964) Warren Beatty. Jean Seberg. Peter Fonda. 114 mins. Difﬁcult material was the obvious sturrtbling block for Beatty's career when this well- meaning movie ﬁrst appeared. He plays a mental hospital worker in love with a schizophrenic. Viewed now. Rossen’s intricate use of the winding corridors adds a visual dimension to the themes of the nan'ative. Under-rated and worth a revival. Edinburgh: Film Guild.
I The Lion King (PG) (Roger Allers/Rob Minkoff. US. 1994) With the voices of Matthew Broderick. Jeremy Irons. Robert Guillaume. 88 ntins. The ﬁrst Disney animated feature to be based on an original story rather than a traditional folk or fairy tale. The Lion King retains all of the studios markers: impeccable animation.jolly songs. colourful characters artd a strong moral guideline. Startling family fare. General release.
I little Women (U) (Gillian Armstrong. US. 1994) Winona Ryder. Susan Sarandon. Gabriel Byrne. 118 rrtins. Louisa May Alcott‘s novel has channed readers for generations. despite weighing its morals with a mountain of sentimentality. 1n Hollywood's third screen version. the March girls are still unbelievably good and forgiving. but Armstrong and writer Robin Swicord have added a touch of 90s post- feminism to give a contemporary relevence to their bonding and independence. A glowing view of family love. See feature. All Odeons. All UCls. Glasgow: Grosvenor. MGM Parkhead. Edinburgh: Dominion.
I The Madness 0f lting George (PG) (Nicholas Hytner. UK. 1994) Nigel Hawthorne. Helen Mirren. Rupert Everett. 110 mins. Alan Bennett's adaption of his own stage play is a great British ﬁlm in its own right with no lingering sense of theauicality. Nigel Hawthorne's excellent portrayal of the King. his demented behaviour threatening the stability of the nation. gives the ﬁlm an emotional core. while the script's themes are intelligently handled throughout. See preview. Glasgow: Odeon. Edinburgh: Odeon. UCI. Strathclyde: UCI East Kilbride.
I leery Shelley’s Frankenstein (15) (Kenneth Branagh. US/UK. 1994) Robert De Niro. Kenneth Branagh. Helena Bonham Carter. 120 mins. Ambitious medical student Victor Frankenstein discovers the means of regenerating dead tissue. but so horriﬁed is he with his success that he abandons his creation — bringing a terrible revenge upon his friends and family. Keeping close to Mary Shelley's book. Branagh departs from it only to clarify and
expand upon her aims. The scope is immense. the themes deep and literate. the design ﬁrst class. Edinburgh: Cameo.
I The ﬂash (PG) (Charles Russell. US. 1994) Jim Carrey. Cameron Diaz. Peter Reigert. 95 mins. A timid bank clerk ﬁnds an ancient mask that allows him to fulﬁl his innermost desires as a suave charmer and crimeﬁghting whirlwind. An amalgam of 20s. 30s and 40s decor. The Mark has a skimpy plot. but its rousing musical set-pieces and eye-popping computer-generated effects (like a live action Tex Avery cartoon) make it the surprise hit of the summer. Glasgow: Grosvernor. Edinburgh: Filmhouse.
I Mi Vida Loca (15) (Allison Anders. US. 1993) Angel Aviles. Seidy Lopez. Jacob Vargas. 92 mins. Anders. director of the excellent Gas Food bulging. literally gives a voice to the members of LA's Echo Park Latino gangs. Overlapping story segments are played out on screen with occasional narration from different characters. changing perspectives on the same events. Sortte of the acring is pretty dodgy. the stories are farttilar front black urban movies and the dialogue is over-entphatic. but there's undoubtedly a strong current of energy propelling it along. See feature. Edinburgh: Filmhouse.
I Mina Tannenbaunt (12) (Mattine Dugowson. France. 1994) Rornane Bohringer. Elsa Zylber‘stetn. Jean-Philippe Ecoffey. 128 mins. Art aspiring painter arid a shallow media wannabe remain together through childhood. the romantic yearttings of adolescence. but are tested by adultho<xl's pressures. Boltringer and Zylberstein work wonders in the central roles. while Dugowson's revelation of buried truths will shake you to your core. Perceptive. stylish artd wise. Central: MacRobett.
I Mrs Parker And The Vicious Circle (15) (Alan Rudolph. US. 1994) Jennifer Jason Leigh. Campbell Scott. Matthew Broderick. 124 rrtitts. A veritable legend in biting one-liners. Dorothy Parker. along with lter sophisticated group of literary friends. wielded incredible inﬂuence in jazz age America. Alart Rudolph‘s ﬁlm reveals her to be a passionate. contradictory woman who toyed alternately with success attd suicide. Jennifer Jasort Leigh's perfonnance is unique and certainly remarkable. but there is a sense that it is too reliant on surface details such as accent. Edinburgh: Filrnhouse.
I My Fair Lady (PG) (George Cukor. US. 1964) Rex Harrison. Audrey Hepburn. Stanley Holloway. Wilfred Hyde White. 175 mins. Familiar screen adaptation of Lerner and Loewe's musical slant on l’ygmalion. notable for a catalogue of great tunes. Harrison's somehow endearing half-spoken singing. and Cecil Beaton's splendid costume designs (especially in the racecourse sequence). Edinburgh: UCI.
I Natural Born Killers (18) (Oliver Stone. US. 199-1) Woody Harrelson. Juliette Lewis. Robert Downey Jr. 119 mins. Stone's visual and aural assault makes for one of the rrtost remarkable cinematic experiences in years; his attempts to marry style with content. artd provide a damning expose of the media adulation of serial killers is less successful. let down by his trademark overstaternertt. Violent. mesmerising. hallucinatory and bold in its use of various ﬁlm formats. NBK is a landmark in MTV-influenced ﬁlmntaking. General release.
I llell(12) (Michael Apted. US. 1994) Jodie Foster. Liam Neeson. Natasha Richardson. Isolated front the modern world for her entire life. Nell (Foster) must prove that she is capable of looking after herself in the wilds or she will be taken into care. The fact that she speaks only iii a language all of her owrt doesn't help. but sympathetic doctor Neeson takes her side. Foster‘s stand-out performance is perhaps more theatrical than cinematic. but that doesn‘t hinder a ﬁlm that avoids most of the patronising pitfalls it sets up. General release.
I New Jack City (18) (Mario Van Peebles. US. 1991) Wesley Snipes. lee-T. Allen Payne. Chris Rock. Mario Van Peebles. 101 rttins. Rapper Ice- T plays an undercover cop dedicated to smashing a powerful gang who run a drugs empire. But when his cover is blown. a series of violent confrontations follow. Director Van Peebles delivers a gripping work of ﬁction based on a frightening world of fact. while packing in an impressive quotient of Uzi ﬁre and hot babe action. Edinburgh: Filmhouse.
I The Nightmare Before cuisines (PG) (Henry Selick. US. 1993) With the voices of Chris Sarandon. Danny Elfman. Catherine O'Hara. 76 mins. Jack Skellington. the skinny trickster king of Halloweentown. is restless with success and needs a new challenge. so he hatches a plot to kidnap Santa and create a mixed-up Yuletide isn't quite what the kids of the world expected. Produced and based on a story and characters by Tim Bunon. this is a real imaginative treat — deliciously dark stepmotion animation on the big screen. Glasgow: GFT.
I 101 Dalmatian: (U) (Wolfgang Reidtemtan/Hamilton S. Luske/Clyde Geronimi.
US. 1961) 80 mins. Disney's Easter ‘95 release is a personal favourite. Dad Dalmatian Pongo and various animal churns help rescue his offspring frortt a terrible fate as the intended coat of Cruella De Vil. Plenty of fun. acres of cuteness. and the best villainess in animation history. General release in Lothian. Central and Fife. I The Pagester (U) (Joe Johnstone/Maurice Hunt. US. 1994) Macaulay Culkin. Christopher Lloyd. 83 rrtins. Child-nerd Richard Tyler (Culkin) bumps his head in the local library and ﬁnds himself transported into an animated adventure with a trio of book friends - Adventure. Fantasy and Horror — to keep hint company. The moral is that discovering a role for yourself in ﬁction helps you confront real life. Luckily. the plot episodes come and go at a pace that suits the skintpiest concentration span. but that doesn‘t hide the fact the animation is particularly dull. Edinburgh: UCI. Strathclyde: UCI Clydebank. I le Partuln D’Yvonne (18) (Patrice Leconte. France. 1994) llippolyte Giradot. Jean-Pierre Marielle. Sandra Majani. 89mins. A young Frenchman (Giradot) goes to Switzerland in the 50s to escape conscription and scouts around for romantic adventure. Cue the beautiful Yvonne and mysterious fez-wearing associate Dr Meinthe. Like The Hairdresser 's Husband. Leconte‘s ﬁlm enjoys its fair share of sunny reminiscence before darkening into a rttode of existential tragedy. Fife: New Picture House. Robin's. I The Piano (15) (Jane Cantpion. Australia/New Zealand. 1993) Holly Hunter. Sam Neill. Harvey Keitel. 120 mins. Jane Campion’s masterpiece follows mute Scotswoman Ada (Hunter) as she travels to 19th century New Zealand with her piano artd daughter to ertter into an arranged marriage. Soon she begins a passionate and erotic affair with her illiterate neighbour as the means of regaining her treasured instrument. lrnpeccable performances lift this highly charged piece to the realms ofclassic cinema. undoubtedly one of the best ﬁlms of the 90s. Strathclyde: Magnum. I Pret-a-Porter ( 18) (Robert Altman. US. 199-4) Tint Robbins. Julie Roberts. Richard E. Grant. Lacking the insider bite of The Player and the skilful rtarrative weaving of Short Cuts. this backstage glimpse into the world of high fashion .vill disappoint Altman fans. However. as a fast- ' paced farce. set during the annual Parisian :atwalk show and starting names as diverse as Sophia Loren and Kim Basinger. Naomi Campbell and Tint Robbins. it might make for a :olourful. glossy night out. Glasgow: Odeon. . Edinburgh: Odeon. Strathclyde: UCl Clydebank. I Priest (15) (Antonia Bird. UK. 1994) Linus Roache. Robert Carlyle. Torrt Wilkinson. 103 mins. Writer Jimmy McGovern (Cracker. Hearts 4nd Mint/s) goes from strength to strength with another uncompromising foray into an area of social contention. while director Antonia Bird (Safe) shows that she too is adept at balancing political and emotional impact. Priest's handling of homosexuality withirt the clergy is no excuse for tabloid scandal; instead. what emerges is a story of personal freedom. compassion and the struggle against hypocrisy. Glasgow: GFT. Edinburgh: Cameo. UCI. I Princess Caraboo (PG) (Michael Austin. UK. 1994) Phoebe Cates. Jim Broadbent. Stephen Rea. Kevin Kline. 97 mins. A my terious girl. gibbering away in a language that rs clearly not English. channs early 19th century society and is proclaimed an Eastern princess. Part fable. part satire on the pretentions of the aristocracy. the dark psychological side of this true story is ignored in favour of charming period comedy and a is-she. isn't-she Sommmershv style plot. Fife: Adam Smith. I Pulp Fiction (18) (Quentin Tarantino. US. 1994) John Travolta. Samuel Jackson. Urna Thurman. Bruce Willis. 150 mins. Much more ambitious than Reservoir Dogs. the rrtost awaited second feature of the 905 has many scenes that crackle with Tarantino wit. and a few others that fall ﬂat as the writer-director bravely experiments. Interlocking stories in the pulp crime manner concern hitmen. ailing boxers. gang bosses and their molls. drug ﬁends. and assorted riff-raff. This year's surprise Cannes Palme d'Or winner is a trip. all the way. General release. I Ortiz Show (15) (Robert Redford. US. 1994) Ralph Fiennes. John Turturro. Rob Morrow. 133 ntins. When television was in its intimacy and America itself was riding on a wave of post- war/pre-Kennedy innocence. the disclosure of cheating on the game show Twenty One caused a national scandal and sense of shock. Redford sets up the inevitable collision of ethics and glamour. morality and proﬁt. while Ralph Fiennes. John Turturro. Rob Morrow and Paul Schoﬁeld acquit themselves with style. Glasgow: Odeon. MGM Parkhead. Edinburgh: Odeon. UCI. Strathclyde: Odeon Ayr. UCls. I Raging Bull (18) (Martin Scorsese. US. 1980)
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