harrowing. but a vital catalyst to debate. Edinburgh: Film Guild.
I Lancelot Du Lac (15) (Robert Bresson. France. 1974) Lire Simon. Vladimir Antaliek. SS ruins. The legend of King Arthur stripped of all the glowing heroism tltat is rrsually attached to it. This later Bresson show s the director’s austerity of visual style working at its sparsest. the result being a work of typically ascetic spirituality. Edinburgh: Film Guild.
I Land And Freedom ( 15) (Ken Loach. UK/Spain. 1995) lan llart. Rosana l’astor. lciar Bollairr. 109 mins. A magnificent. moving. politicised epic on the Spanish ('ivrl War by Britain's most committed director on the Left. An unemployed man (llart) tCZtrCS 30s Liverpool to fight with the l’()l'M Militia. and sees ﬁrst hand the betrayal of his cause by the Stalinists. His story is told in flashback. as his granddaughter reads his hidden letters home — a link to the present day that proves these events have a strong relevance to today. lidinbur‘gh: Cameo.
I The Last Seduction ( l 5) (John Dalrl. LS. 199‘) Linda Fiorentino. Peter Berg. Bill Pullman. 110 mins. After double-crossing her husband. stealing some drugs sale cash and holing up in a small town. Grade 'A' brtcli Bridget Gregory uses her sexual charms to lure the naive Mike Swale into a plan that will free her from her troubles. No one handles polished pulp like John (Rer/ Ruck Wm!) Dalrl. and here he's got the added advantage of a deliciously nasty performance from Linda l'iorentrzio as a ferrurre who's more fatale than most. Fdinbur'gh: Filrnhouse.
I Leon ( IS) (Luc Besson, France. 1994) Jean Reno. Nathalie l‘oitmaii. Gary ()ldman. l 1() mins. ererr his neighbour's farrrily is wiped out by crooked cops on a bungled drugs bust. ice cool hitrnan Leon finds himself looking after the sole survivor - twelve-year-old Mathilde. erc Besson's ﬁrst ﬁlm in linglish is. nevertheless, a French film in terms of style. editing and its boldness in story and theme. it‘s good to see that the director has finally got over the all«.sty le-no content obstacle. Fife: New l’icture House.
I lift to the Scaffold (PG) (Louis Malle. France. 1957) Jeanne Moreau. Maurice Ronct. Georges l’ouiouly. 90 mins. (‘onsidei‘ed qtrite a gripping thriller in its day. Malle’s first dramatic feature hinges on a perfect crime of murder that does not go according to plan. The cool rroir elements are still cffcctive. the Miles Davis score still sets a decadent tone. and Moreau is
still glowing on screen. Central: MacRobert.
I lissy (Konrad Wolf. liast Germany. 1957) 89 mins. This early work by one of liast Germany‘s leading directors is set in 1930s Berlin and focuses on a young woman whose unemployed husband becomes an active supporter of the Nazi Party. Edinburgh: Film Guild.
I little Odessa (15) (James Gray. US. 1994)
Tim Roth. Edward Furlong. Moira Kelly. 98
mins. Roth plays a hitman for the Rrrssian
Jewish maﬁa in New York. whose latest assignment brings him back into contact with his
family. Despised by his father and idolised by
his brother. he triggers events that lead to inevitable tragedy. Gray's debut is relentlessly downbeat. capturing in almost sepia tones the disillusionment and moral disintegration of this immigrant family in their musty home. Strathclyde: Fast Kilhride Arts (‘entre.
I little Rascals ([7) (Penelope Spheeris. US. 1994) Travis 'l‘edford. Bug llall. Brittany Ashton Holmes. 82 mins. After Beverly Hillbillies. director Spheeris does another TV remake. this time going fora bunch of srrnrg brats who leave a trail of destruction behind them. liven kids
w ho enjoy ed the Horne/Hone level of mayhem might not take to the American sentiment and unnecessary low hurnorrr here. Fife: Robin's.
I living In Oblivion (151(lorir Di(‘rllo. (S. 1995) Steve Buscerui. Catherine Keener. Dermot Mulroney. 9S mins. The boom keeps getting into the shot. the male and female stars are sleeping with each other. the smoke machine's on the blink. the dwarf objects to his typecasting . . . all of the nightmares of low budget ﬁlrnrnaking seem to have descended upon the head of Nick Reve (Buscemi). DiC‘illo's hilarious follow-up to
Jo/imrv Suede has a very cool cast. who all bring
a human touch to their roles. This isn'tjust for film buffs. it's for anyone who has struggled to achieve something in a group situation against the odds. With the short ﬁlm Mr Morris. Edinburgh: Cameo.
I Mean Streets (18) (Martin Scorsese. US. 1973) Harvey Keitel. Robert de Niro. David Proval. ill) rnins. Tony's Bar is the base for four young ltalian-Americans. whose increasingly illegal activities lead to tragedy. Vividly observed character study which combines breathtaking technique with a pervasive sense of corruption. Keitel and de Niro give of their very best. Edinburgh: Cameo.
I Metropolis (l’G) (Fritz. Lang. Germany. 1926) Brigitte llelm. Alfred Abel. Gustav Fr'olich. 1?.«1 ruins. ()ne of the greatest films of all time. here
in its longer-length. rrrrcolorised version. free from Giorgio Moroder‘s tacked-on rock soundtrack. The cityscapes remain unsurpassed. although the allegory against totalitarianism is a bit naive. Edinburgh: Filrnhouse.
I Mighty Morphin Power Rangers: The Movie (PG) (Bryan Spicer. US. 1995) Paul Freeman. Gabrielle Fitzpatrick. Amy Jo Johnson. 95 mins. A strictlyjuvenile big screen version of the TV show with the Angel Grove teenager's battling the evil 1van ()oze. W-aring their colour-coded jurnpsuits. they use good old-fashioned teamwork to trrrnble and kickbox their way through oodles of monsters. The ﬁghts are well- staged. brrt some of the effects are tacky. 1t's all panto-bland enough to keep the kids happy. Fife: MGM. Str'athclyde: (‘annorr
I Mystery Train (15) (Jim Jarrnrrsclr. (IS. 1989) Masatoshi Nagase. Nicoletta Br'aschi. Screamin' Jay Hawkins. Joe Strummer. 113 mins. Jarmusch's first colour feature. like his earlier ﬁlms. draws heavily on a beat-inspired road- movie genre. Three seperate groups of ill assorted people drift through Memphis. in a trio of interlocking vignettes that esarnined their various experiences in the city that boasts of the blues and Graceland. lidinburgh: Cameo.
I New Visions: Mortality ( IS) too mins. A brave mixture of experimental frliir and video. drawn together to coincide with Fotofeis. This programme contains radicial but accessible work hailing from Germany. l'SA. Japan. (iatrada. France and the (K. with Scotland represented by Simon Fildes's qrriet exploration of love and loss. ll'ii/irrut Tire/1m]. . and Louise
('t'aw ford's‘ Claiming 'li'r/l'lrn'y. which contrasts the landscape of war with the male body. lidinbuigh: Filmhouse.
I New Visions: Urban Myths i no 89 mins. The second touring programme ofexperimenlal filrrr and video includes work from Germany. L'SA and the UK. with Scottish input from ()livier‘ llinsinger's fragmented montage [in/rt; [ion/r, Plume and the Butler Brothers' The ('in Ii A'o lmrgr'r Safe. which examines the territory of cyberspace through cornpntcr-generated animation. iidinbui‘gh: Frlmhouse.
I Nine Months ( ll) ((‘hris (‘oluiribus liS. 1995) llrrgh Grant. Julianne Moore. Tom Arnold. 100 mins. Grant plays Sam (ofcorrr‘se. he really plays himself). a child psychologist who hates kids and who goes ape when his wife says she's pregnant. The ever -sucCessful ('hr is (‘olrrrnbus has come up w itli a film that's impossible to hate. with flawless script and
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infectiotrs performances. So it's still to early for the Hugh Grant backlash. All 13('1s.
I Oliver Twist (PG) (David Lean. t'K. 194$) Alec Guinness. Robert Newton. Francis 1.. Sullivan. 116 mins. A classic screen version of the Dicken's ttovel. w rtlr Guinness a sly Fagin and Newton a menacing Bill Sykes. instead of making it a light children s story (as in the musical version). Lean taps into the darker side. and captures it all in crisp black-and-w hite irrrages which look superb in this new print. Glasgow: (3171'.
I One Minute World Festival 100 rnrrrs. Between 22 and In November. over [(10 cities across the world will take part in the ()ne .\'inute World Festival 95. 'l‘oday. it's Glasgow's turn. as New Visions presents a programme of one rnirrrrte film and video work on the theme of the city. Glasgow: Frlnr and Vidcr‘ Workshop.
I The Player ( 15) (Robert Altman. l'S. 1992) Tim Robbins. Greta Scacclii. l'red Ward. l’eter' Gallacher. 111 mms. Altman's satire on the wheeling and dealing (-1 modern day Hollywood is more than just an excuse for cineastes to play trainspottei' with the famous faces in cameo roles. It is also a terrific thriller about a studio exec receiving death threats from a spurned writer. Tim Robbins is magnificent in the lead role. while Altman manages to grin as he bites the hand that feeds him, lzdinburgh: Cameo.
I Pocahontas (11) Mike Gabriel/Eric Goldberg. US. 1995) With the voices of Mel Gibson. lrene Bedard. Billy Connolly. til mins. The true story of Pocahontas is given a splash of Disney colour. redtrcing her from heroine to lovesick bimbo as she falls madly in love with white settler Captain John Smith. Tire cliched beauty of the leads. the cutesy animals and talking tree make it a travesy. and even the songs are tuneless warbling ballads. Only the animation is worth a mention. General release.
I Postcards From The Edge (15) (Mike Nichols. US. 1990) Meryl Streep. Shirley Maclaine. Gene llackman. 101 mins. Glossy brrt honest adaptation of Carrie Fisher's largely arrtobiographical novel of llollywrxxl bell: cocaine addiction. waking up with strangers. a plummeting reprrtation and the degradation of the detox clinic. in this case. the young star. played with gusto by Streep. faces the additional tribulation of an alcoholic mum (Macl.aine). btrt can country 'n' western save the day'.’ lidinburgh: Cameo.
I ll Postino ([3) (Michael Radford. Italy. 1995) Massimo 'l‘roisi. Philippe Noiret. Maria Grazia
I . IIA'I’E '5 THE MORNING AFTER WAS JUST THE BEGINNING...
"An urban nightmare that’s shot like a drenm”.....rm "One of the most outstanding and explosive films this year".m
WINNER 3:51- DIRECTOR-CANNES 1995
'l he List 17-3“ Nov 1995 29