I 101 palnatians (U) (Wolfgang Reitherman/ Hamilton S. Luske/Clyde Geronimi. US. 1961) 80 mins. Disney's Easter '95 release is a personal favourite. Dad Dalmatian Pongo and various animal chums help rescue his offspring from 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.

I m (15) (Wolfgang Petersen. US. 1995) Dustin Hoffman. Rene Russo. Morgan Freeman. 122 mins. A deadly virus transfers from the African jungles to California and. in a terrifyineg short space of time. is threatening the entire world. Petersen's AIDS paranoia thriller starts out well enough. building on very real fears. but it does descend into a hardware shoot-'em-up. Okay as a slab of entertainment. but it fails to tap the potential of its subject matter. Glasgow: MGM Film Centre. All UCls. I Plan 9 FM Outer Space (18) (Edward D. Wood Jnr. US. 1956) Gregory Walcott. Bela Lugosi. Tor Johnson. 79 mins. Dismissed by many as the worst film ever made. Ed Wood's ham-listed tale of graverobbers from outer space is admittedly amateurish. but it has an energy that takes it from A to B. So many technical slip- ups are there for everyone to see. that it's really a great laugh and never boring. Glasgow: GFT. Edinburgh: Cameo.

I Pret-a-Porter (18) (Robert Altman. US. 1994) Tim Robbins. Julie Roberts. Richard E. Grant. Lacking the insider bite of The Player and the skilful narrative weaving of Short Cuts. this backstage glimpse into the world of high fashion will disappoint Altman fans. However. as a fast- paced farce. set during the annual Parisian catwalk show and starting names as diverse as Sophia Loren and Kim Basinger. Naomi Campbell and Tim Robbins. it might make for a colourful. glossy night out. Edinburgh: Cameo. Central: MacRobert.

I Priest (15) (Antonia Bird. UK. 1994) Linus Roache. Robert Carlyle. Tom Wilkinson. 103 mins. Writer Jimmy McGovern (Cracker. Hearts And Minds) 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 within the clergy is no excuse for tabloid scandal: instead. what emerges is a story of personal freedom. compassion and the struggle against hypocrisy. Glasgow: Odeon. Central: MacRobert. Fife: Adam Smith.

I Pulp Fiction (18) (Quentin Tarantino. US. 1994) John Travolta. Samuel Jackson. Uma Thurman. Bmce Willis. 150 mins. Much more ambitious than Reservoir Dogs. the most awaited second feature of the 90s 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. Glasgow: Odeon. Edinburgh: Odeon. Cameo. Strathclyde: Odeon Ayr.

I Quiz SMIUS) (Robert Redford. US. 1994) Ralph Fiennes. John Turturro. Rob Morrow. 133 mins. 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. Edinburgh: Cameo.

I Raging Bull (18) (Martin Scorsese. US. 1980) Robert de Niro. Cathy Moriarty. Joe Pesci. 129

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mins. Middleweight boxing champ Jake La Motta finds it difficult to sustain his early success and as his career fades. he declines into a travesty of his former self. De Niro's stunning physical presence dominates Scorsese's savagely bleak study of self-destructive machismo. Edinburgh: Cameo.

I la Reine hiargot (l8) (Patrice Chereau. France. 1994) Isabelle Adjani. Daniel Auteuil. Jean-Hughes Anglade. 145 mins. A forced wedding between the Protestant Henri de Navarre and the Catholic Marguerite de Valois can't calm 16th century France's religious wars or stop the St Bartholomew‘s Day Massacre. Chereau's breathtaking epic is perhaps a tad gory for the costume drama crowd. btrt it's a subtitled spectacle that is remarkable in its scope. Central: MacRobert. Strathclyde: East Kilbride Arts Centre.

I The Remain: of the Day (U) (James Ivory. UK. 1993) Anthony Hopkins. Emma Thompson. James Fox. 134 mins. A butler reminisces on the pre-WW2 days he spent in Darlington Hall. when he turned a blind eye to his employer's dealings with the Nazis and his own feelings for the housekeeper. One of Merchant-Ivory's best. with Hopkins the epitome of English emotional repression. Edinburgh: Cameo.

I Bepulsion (18) (Roman Polanski. UK. 1965) Catherine Deneuve. Ian Hendry. John Fraser. 105 mins. Left on her own in her sister's flat for a few days. a sexually repressed young woman gradually deteriorates towards complete mental breakdown. Polanski's first English language movie remains one of his best. a genuinely disturbing exploration of intense paranoia and claustrophobia that unflinchineg picks at the audience's deepest neuroses. Edinburgh: Cameo. I Reservoir Dogs (18) (Quentin Tarantino. US. 1992) Harvey Keitel. Tim Roth. Michael Madsen. 100 mins. A gang of hoods. known only to each other by colour-coded nicknames. meets at an abandoned warehouse to figure how out their rigorously planned heist went so drastically wrong. The best debut in years from writer-director Tarantino. whose stylish violence seduces the audience into complicity. Brilliant in every sense of the word. Glasgow: GFI'. Odeon. Edinburgh: Cameo. Odeon. Strathclyde: UCI Clydebank.

I Ritchie Rich (PG) (Donald Petrie. US. 1995) Macaulay Cttlkin. Jonathan Hyde. John Larroquette. 95 mins. The world's wealthiest child played by the world's wealthiest child actor this comic strip turned m0vie has enough knockabout mayhem to keep the kids happy. Culkin is more confident and appealing than in his some of his other work. btrt it's Hyde's sarcastic butler who brings a better comic touch to the proceedings. General release.

I A Bitter Runs Through It (PG) (Robert Redford. US. 1992) Craig Sheffer. Brad Pitt. Tom Skerritt. 124 mins. A fine. lyrical piece by director Redford describing the love and loyalty of two contrasting brothers in Montana early this century. Based on Norman Maclcan's semi- autobiographical novel. it fuses the Scots Presbyterian lifestyle of American settlers with an true understanding of nature. Wonderful performances. beautiful photography: altogether a perfectly crafted film about human relationships. Edinburgh: Cameo.

I Bob Boy (15) (Michael Caton-Jones. US/UK. 1995) Liam Neeson. Jessica Lange. Tim Roth. 130 mins. When he is betrayed by the Marquis of Montrose (John Hurt) and a maliciously psychopathic Englishman (Roth). Rob Roy MacGregor is determined to win back the honour of his name. Alan Sharp's script is rich. witty and literate: Caton-Jones's direction injects a little action. but doesn't pander to Hollywood; and all the performances are wonderful. A stirring epic which refuses to compromise. making it one of the best films about Scotland and the Scottish psyche ever made. General release. _

I The Sexual Life Of The Belgians ( 18) (Jan Bucquoy. Belgium. 1994) Jean-Henri Compcre. Sophie Schneider. Noe Franq. 80 mins. A semi- autobiographical tale of a country boy's coming of age as a would-be revolutionary and writer in 50s and 605 Belgium - not. you'd think. the basis of some slyly irreverent. episodic charmer. It's also not the titilating study that the title suggests. more a witty and honest look back on the ups and downs of various amorous escapades from a teenager who's busy trying to change the world. See preview. Glasgow: GF'T.

I Shaft (15) (Gordon Parks. US. 1971) Richard Roundtree. Moses Gunn. Charles Cioffi. 100 mins. Not really as blaxploitative as it's reckoned to be. this hardboiled private eye thriller has a decent cast. a tight plot. and that cool Oscar-winning title song from Isaac Hayes in its favour. Better than its two sequels. the plot centres on the kidnapping of a gangster's daughter. Glasgow: GFT.

I The Shovelunk Redemption (l5) (Frank Darabont. US. 1994) Tim Robbins. Morgan Freeman. Bob Gunton. 143 mins. Banged up for a crime he didn't commit (ain't they all?) quiet

man Robbins plans a slow but effective revenge on the unnecessarily harsh prison regime. Freeman excels as the fellow con with an uncanny knack for procuring desired items. The film is certainly overlong. but the apocryphal feel to the storytelling and the period detail are well handled in what is. ultimately. a very fine movie indeed. Edinburgh: Cameo. Fife: Adam Smith. Strathclyde: Magnum.

I Short Cuts (18) (Robert Altman. US. 1993) Andie MacDowell. Tim Robbins. Lily Tomlin. Tom Waits. et al. 187 mins. Long and absorbing. Altman's patchwork approach shifts Raymond Carver's short stories to Los Angeles. a city socially and geologically on the point of falling apart. The stories cross over. character's lives rub together. threads are picked up after receeding for a while - this is classy soap opera at its best. with flawless acting and construction. Edinburgh: Cameo.

I Silent Fall (15) (Bruce Beresford. US. 1994) Richard Dreyfuss. Ben Faulkner. Liv Tyler. 101 mins. Troubled by his own past. child psychologist Dreyfuss reluctantly takes on a case where the only witness to a brutal double murder is a young autistic boy. The film benefits from a two-pronged mystery narrative who's the killer and what lies behind the closed doors of autism and the build-up is good. But when the plot resolutions come. it takes off into the melodramatic blue yonder. See review. General release.

I Simple Men (15) (Ilal Ilartlcy. US. 1992) William Sage. Robert Burke. Karen Sillas. 104 mins. Two mismatched brothers go in search of their athlete-tumed-radicai father. whose absent presence acts like Godot to their Estragon and Vladimir. And. as in the stage piece. it's the wordplay (Hartley's patented ear for quirky dialogue) and wayward philosophising en route that becomes more important than the joumey itself. Edinburgh: Cameo.

I Some like It Hot (PG) (Billy Wilder. US. 1959) Tony Curtis. Jack Lemmon. Marilyn Monroe. 120 mins. Two impecunious male musicians inadvertently witness the St Valentine's Day Massacre and take refuge in Florida with Sweet Sue and her Society Syncopators. an all-female band. Brilliant. brittle. crackerjack farce with all concerned at a peak in their careers. Edinburgh: Cameo.

I Space Adventure Cobra (18) (Osamu Dezaki. Japan. 1982) 95 mins. Cobra. the most wanted pirate in the universe. becomes disillusioned with the indiscriminate violence of the Space Pirates Guild and goes it alone in search for legendary treasure. An appealing mix of several adventure genres with fast pacing and 60s style visuals. Edinburgh: Filmhouse.

I Streetlighter (12) (Steven E. De Souza. US. 1995) Jean-Claude Van Damme. Raul Julia. Kylie Minogue. 100 mins. When a renegade warlord takes a group of aid workers hostage. Colonel Guile (Van Damme) heads a sqaud of multi-ethnic heroes who storn a hi-tech fortress to free them. The fact that the film suffers from a stop-start plot. too many heroes and virtually no suspense is fairly unsurprising. given that it's a transfer to the big screen of a computer game. A noisy. brainless mess. General release.

I Super 81‘an! 69 mins. A free screening of works originated on Super-8mm film. presented by Laura Hudson of London's Viva-8 Festival. The line-up consists of Richard Squires's Dowager Hunter-Gatherer. lain Keeney's Domestic Bliss and Cowgirl Fever. Bev Zalcock's Secret Love. Gail Pearce's Cur. Susanne Oberbeck's The Queen and Vivienne Dick's Liberty is Booty. Glasgow Film and Video Workshop.

I Suture (18) (Scott McGehee and David Siegel. US. 1994) Dennis llaysbert. Michael Harris. Mel Harris. 96 mins. The story: Clay (Haysbert) survives a murder attempt by his brother Vincent (Harris). but suffers amnesia and has his face remade as Vincent by plastic surgery. The twist: although on screen everyone refers to the brothers' striking similarities. one is played by a burly black actor. the other by a small. white guy. An intriguing examination of personal identity and the connection between looks and character. shot in glorious monochrome scope. Edinburgh: Filmhouse.

I Sweetnevenge (15)(JerTy Schatzberg. US. 1976) Stockard Channing. Sam Waterston. Richard Doughty. 90 mins. Channing stars as a slightly crazy car thief. whose ultimate ambition is to own a Fen'ari. and who becomes the object of desire for lawyer Waterston. A relaxed. offbeat romantic comedy. Edinburgh: Filmhouse. I Tank Girl (15) (Rachel Talahay. US. 1995) Lori Petty. Malcolm McDowell. Ice-T. 104 mins. It's impossible to find enough abusive adjectives to describe how bad this boring. anodyne. utterly misconceived version of the Deadline comic strip really is. Shaven-headed punkette Rebecca (Petty) and gang of mutant kangaroos take on a bug-eyed villain (McDowell) in a futuristic desert Earth. Dull action sequences. last-minute insertions of animation. a thrown-together soundtrack: flush this excrement down the

nearest toilet. See review. Edinburgh: Odeon. UCI. Strathclyde: Odeons. UCls. I Telford College Showreel For the first time. a programme of works by the students at Telford College‘s HND Television Production course receives a screening at the Edinburgh Filmhouse. Much of the material is of a local flavour. captured with a fresh eye. Mon 19 only. Edinburgh: Filmhouse. I Thin Ice (12) (Fiona Cunningham Reid. UK. 1994) Sabra Williams. Charlotte Avery. James Dreyfuss. 88 mins. Weeks before she is due to enter the Gay Games in New York. ice dancer Steffi (Williams) is dumped by her partner. Knowing that a report on the event will break her and her writer friend into mainstream journalism. she quickly teams up with straight skater Nathalie (Avery). and an unlikely love affair blossoms. Unlike most gay movies which seem to dwell on pain and sadness. this is a positive. lightweight romance. and. as such. a breath of fresh air. Glasgow: GI’T. I Three Colours: Blue ( IS) (Kr‘zysztof Kieslowski. France. 1993) Juliette Binoche. Benoit Regent. Charlotte Very. 100 mins. A young woman tries to isolate herself from friends and any notion of affection following the death of her composer husband and child in a car crash. btrt she cannot escape from the fragments of his unfinished composition. in which she played a major part. An expressive and symbolic film that is also emotionally satisfying. Binoche's award-winning performance. in a film of profound beauty. is the best of her career. Edinburgh: Cameo. I Three Colours: lied (15) (Krzysztof Kieslowski. France/Stt'itzjl’oland. 1994) Irene Jacob. Jean-Louis Trintignant. 96 mins. Kieslowski's tricolour trilogy comes to a close with what may be his greatest masterpiece. A Swiss model (Jacob) discovers that a retired judge (Trintignant) is listening in to his neighbours' phone conversations; but instead of denouncing him. she too opens up her innermost secrets. Superficial details are stripped away as the director concentrates on parallel lives and interwoven destinies. Edinburgh: Cameo. Fife: New Picture House. I Three Colours: White ( 15) (Krzyszrof Kieslowski. France/Switz/Poland. 1993) Zbigniew Zamachowski. Julie Delpy. Janusz Gajos. 91 mins. Another masterful piece of cinema by Kieslowski. much less lyrical and visually poetic than his most recent works. This time the theme of the trilogy is ‘equality'. as a Polish hairdresser sets out to get revenge on his French ex-wife. Edinburgh: Cameo. I Trop Belle Pour T01! T00 Beautiful For I'uu.’ (l8) (Bertrand Blier. France. 1989) Gerard Depardieu. Josianc Balasko. Carole Bouquet. 91 mins. Massive French hit offers a characteristic twist on the old eternal threesome scenario. Depardieu plays the succesful owner of a car showroom. envied by all for his beautiful wife (Bouquet). who falls in love with his dumpy secretary (Balasko). A film of commendable openness about the needs of the senses and men's facility for emotional expression. its true achievement is how it turns the stuff of farce into an intense hybrid of wistful comedy and romantic passion. Edinburgh: Filmhouse. I Vanya 0n 42nd Street (U) (Louis Malle. US. 1994) Wallace Shawn. Julianne Moore. Andre Gregory. 119 mins. Over a period of four years. stage director Andre Gregory worked with a group of actors for irregular ‘undress r‘ehearsal' run-throughs of David .‘vlamet's adaptation of Chekhov's Uncle Vunyu. Malle's film version is equally experimental: the camera moves in close as the lines are delivered in a naturalistic manner without props or costumes. L'ntimately. however. the impeccible performances and (‘hekhov's drama win the day. resulting in a good film. but excellent theatre. Central: MacRobert. I Visions 0i light (PG) (Arnold (ilassman/l'odd McCarthy/Stuart Samuels. US/Japan. 1992) 92 mins. A real delight an odyssey through decades of glorious cinematography from the masters of the craft. complete with excerpts and interviews. As visually enthralling as it is enlightening. Glasgow: Gl’l’. I The Wedding Banquet ( l5) (Ang Lee. US/Taiwan. 1993) Winston Chao. May Chin. Sihung Lung. Ah-Lea Gua. 107 mins. A successful naturalised American lives happily with his gay lover in Manhattan until pressure from his parents in Taiwan forces him to many a young Chinese artist in need of a green card. But when mum and dad jump on the next plane for the wedding celebrations. a farcical situation becomes emotionally tense. Funny and serious in perfectly balanced measure. Edinburgh: Cameo. I Welcome To The Terrordorne (I8) (Ngozi Onwurah. UK. 1994) Saffron Burrows. Suzette Llewellyn. Felix Joseph. 94 mins. A shamholic attempt at a political future-shock thriller. Onwurah's mix of interracial tension and lovesick melodrama is set in a bleak near- apartheid in the next century. The acting is wooden. the design school-play standard. Glasgow: GFI'.

28 The List 16-29 Jun 1995