The beautiful game: not in America where football is dominated by power-hungry

execs such as Any Given Sunday's Cameron Die:

in the style of a Sunday afternoon docudrama, it also has the dubious honour of rendering a remarkable adventure mundane. A much better bet is the visually wondrous The Living Sea, an ‘edutaining’ look at mankind's relationship with the sea (with voice-over from Meryl Streep). Edinburgh: Virgin Megaplex.

Fanny And Elvis (15) «kt (Kay Mellor, UK, 1999) Kerry Fox, Ray Winstone. 111 mins. Fox and Winstone play another of those chalk ‘n’ cheese couples loved by makers of romantic comedies. She's a middleclass feminist who’s struggling to complete her first bodice-ripping novel; he’s a chauvinistic Cockney car salesman, and it’s hate at first sight. The feature debut of Kay Mellor, best known for the TV series Band Of Gold, strives hard to give the material an original spin, but despite game performances from the cast, the results fail to rise much above sitcom-level predictability. Glasgow: Grosvenor. FernGully: The Last Rainforest (U) tit (Bill Kroyer, US, 1992) With the voices of Tim Curry, Samantha Mathis, Jonathan Ward, Robin Williams, Christian Slater. 76 mins. In a secret forest world touched by magic, a young fairy shrinks a human lumberjack, who then has to help save the rainforest from destruction. Eco-edged animation has a lot to recommend it other than its well-meaning intentions: lush colour, sweeping computer-aided cameras, and a decent set of songs. One for the grown-ups as well as the kids. Edinburgh: Filmhouse.

La Fiancee de Dracula (18) (Jean Rollin, France, 2000) 90 mins. Last year's guest of honour, director Jean Rollin, returns to the scene of the crime to introduce his new film, completed ahead of time for its UK premiere. Details of the film are, thus, sketchy at this time. Part of Dead By Dawn. See feature. Edinburgh: Lumiere.

The Fifth Element (12) ti"): (Luc Besson, France/US, 1997) Bruce Willis, Milla Jovovich, Gary Oldman. 127 mins. New York City in the 23rd Century, and cabbie Korben Dallas (Willis) picks up an unexpected passenger in the shape of L£C100 (Milla Jovovich) an alien who holds the key to saving the world. Besson's second English language film following the excellent Leon is a colourful jumble of camp designs (by Jean-Paul Gaultier), self- indulgent performances and genre rip-offs which plays for laughs as genuine sci-fi ideas run dry. Edinburgh: Filmhouse.

Fight Club (18) **** (David Fincher, US, 1999) Brad Pitt, Ed Norton, Helena Bonham Carter. 135 mins. Masculinity is in a mess and consumerism is to blame. Men have become docile spectators of life according to Fight Club, Fincher’s controversial adaptation of Chuck Palahniuk's novel. In reckless response to this late twentieth century malaise, Norton’s docile spectator teams up with Pitt's mischievous Tyler Durden to form an arena for men to beat each other to a pulp and thus reconnect with the world. It’s hit and miss, but enough of the punches connect to startle even the most docile of viewers. Edinburgh: Cameo.

Gattaca (15) ***** (Andrew Niccol, US, 1997) Ethan Hawke, Uma Thurman, Jude Law. 106 mins. In the future, discrimination isn’t based on the colour of a

man’s skin, but its genetic make-up. ‘Naturally’ born Vincent (Hawke) forms a pact with crippled Jerome (Law) to use his genetic identity in an attempt to become an astronaut. The photography is washed by coloured filters and the retro-future design is as distinctive as Blade Runner. Bold ideas develop at their own pace and, despite the intrusive ‘Hollywood' moments, Gattaca emerges as a true individual in an industry of clones. Edinburgh: Filmhouse.

Ghost Dog (The Way Of the Samurai) (15) *** (Jim Jannusch, US, 2000) Forest Whitaker, Cliff Gorman, John Tormey. 116 mins. Preview screening to tie in with The Cameo’s Short Film Award programme and ceremony. Typically offbeat tale from Jannusch that walks just the right side of the line between existentialism and pretension. Whitaker is the street punk who grows up to be a professional killer who models his craft on oriental teachings. Unfortunately, his mobster employers don’t play by the same code of honour. Features a very great soundtrack by the RZA. See Rough cuts. Edinburgh: Cameo.

Girl, Interrupted (15) *tii (James Marigold, US, 2000) Winona Ryder, Angelina Jolie, Whoopi Golderberg. 127 mins. Ryder plays Susanna Kaysen, whose memoirs of her time spent in a mental institution in the late 60$ provide the basis for this film, but the star of the show is Lisa (Jolie), a gorgeous, unpredictable sociopath who establishes herself as Susanna’s best friend and worst enemy. The film does veer too far into tissue territory, but this remains a sensitive and persuasive piece of work. General release.

Goya In Bordeaux (15) whit (Carlos Saura, Spain, 1999) Francisco Rabal, José Coronado, Dafne Fernandez. 100 mins. Saura and Italian cinematographer Vittorio Storaro are reunited following their collaboration on Tango for this visually stunning portrait of the great Spanish artist. The 82-year-old deaf, exiled master recalls his life and work with an impressive central performance by Rabal. Edinburgh: Filmhouse.

The Green Mile (18) iii (Frank Darabont, US, 2000) Tom Hanks, Michael Clarke Duncan, David Morse. 189 mins. Darabont follows one Stephen King prison drama, The Shawshank Redemption, with another about life on death row at Cold Mountain Penitentiary in the 19305. Despite its lengthy running time, Darabont’s careful, even pacing works at this length. Only towards the end, where the strong storylines are resolved with a somewhat whimsical paranormal occurrence, does this sturdy piece of filmmaking waver. General release. llaxan - Witchcraft Through The Ages (18) **** (Benjamin Christensen, Sweden, 1922) 76 mins. Bizarre one, this. Film historian Ado Kyrou describes this mix of animation, fiction and documentary as an indictment of the criminal church. Inspired by the art of Bosch, Breughal and Goya, the voiceover by William Burroughs (added in 1966) only adds to the sheer strangeness of the film. Supported by the short Sweet Satan. Part of Dead By Dawn. See feature. Edinburgh: Lumiere.

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