Rose tinted view of 19505 suburban Baltimore
Liberty Heights (15) 128 mins
ere Drner, Trn r'r/r'en and Ava/on before rt, Barry Levrnson's affe(tronate torrrr'rg of age story presents a nostalgrt. \.re\.'. of suburban Baltrmore in the 1950s In l954, befOre teenagers and rth ‘n' roll, the Lrberty Hergrits reg rbourhoou rs awash throrne-tr:mmeu Cadrllacs, the ("oonrng of Frank Srrtatra, and the rnnotent ron‘a'rtt dreams of Je‘.'-.'s'r sthoolboys irke Be" Kurt/man 'Ben Foster Ben has a trust‘ on Sylxra rRtrrbekah J()l‘tl8()t‘.=, the frst blatk grrl to attend hrs st'roof ander the ne\.'.' "atral desegregatron ;ar.'.s She takes hrm to see soul ma" James Brown tear up the ro-nt, but they dare not tell therr parehts they're gorng out The rssue of Jen-:sr‘ness that azas rmplrtrt rn Drner, Trn Men and Ava/on rs
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Play It To The Bone
(18) 124 mins
There are plenty of great boxrr‘g rrrovres, from [he Set-Up to Rag/ht;
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new releases FILM
Goya In Bordeaux (12) 102mins
Spanrsh frlmmaker Carlos Saura rs probably best known rn Brrtarn for a serres of dante movres: the 80s trrlogy nahrth rntluded Blood Wedd/ng, and more retently Tango and F/amenco But rt’s also useful to see post-705 Saura as a chronrtler of Spanrsh (urture more generally - Ay Carmela! detarled a theatrrtal troupe, and now Goya In Bordeaux takes (are of the gruesome maestro’s frnal days.
The form the frlm adopts rs (llsIIlMl‘VO Goya rFrant'rsto Rabal~, txratked by fear and by memorres and hallucrnatrons, looks over hrs lrfe through hs work There's the moment he parnted a seductrve duchess (Marrbel Verdun, dl‘:(l then there are general drffrcultres parntrng rn a polrtrcal ano royal enyrronrhent where great art was less rmportant than skrlled drplomacy
\‘r’orkrng on<e agarn mth the great ltalran rrnematographer Vrttorro Storaro r.'-.rho shot both Tango and F/anrento Saura may be offerrng frrst and foremost an rngurry r'rto a lrfe But the frlm also frnds‘ a vrsual (orre atrve for the art offerrng a delrtate balantrng dCI between psychologrtal exploratron and aesthetrt. beauty The frirh :nay latk the l)r'r|lran('e of other 'rngurry frlms' su('h as Eternrty And/1 Day and Tune Regal/red, but thrs rs rntellrgent, demandrng (‘rnerna rTony MCKIbbllll s1 Edrnhurgh Fr/mhouse from Frr 29 Sep, G/asgozv' GFT from Frr 73 Ott Rin (18) g5 mins Hrdeo NaKato's 1998 Japanese horror ‘r -rr s a gen‘ It's also a phenomenon rn southeast Asra that's spawned a seouel, preguel and even a Korean The story turns on an estaiatrng ur'ba'r myth ‘C.’llll a body tourit It begrns ‘.'.rth a teenage grrl te"rng her lr'rer‘d about a rnysterrous :ueotape that works HKe a very nasty (ltarf‘ letter Unpleasantly, myth turns >ut to he fatt
ang delrvers the plot early on and tl‘eh settles bark to let the story unfold at a much gentler pate than would rts Amerrtan (OLHTIprdllS, whrch rs no bad thrng There are no cheap burld-ups to exen (heaper pay-offs and no monsters lurkrng under the bed It’s a frlm to relax rnto as :t draws on a nrultrtude of sources, antrent and modem, to gradually burld to a glor ous, HighItrlat'(-‘-:tl(ltl( rng (ilrmax
l."(‘ ()"igrnal rhdustrral-elettronrc score by KC‘HJI Kay-gar deirvers rts share of the
nzlls, xxhrle the sudden flashbatks and moments of sprrrtua! (onnettror‘r betxureer‘. the murders rn the modern day and the past (ome at you hard and out the blue (“.ery trme Rrrrg rs unlrke anythrng rnarnstrearn you've ever seen and rs a terrrfyrng :oy to behold rAdele Hartleyl
:52 Edrnhurgh Frr’mhouse from Frr 22 Set)
Those Who Love Me
Can Take The Train (15) 122 mins
Intelligent portrait of an artist
Japanese horror phenomenon
The mrnor parnter, lean-Baptrste E'nmerrth, has dred Desprte irvrng rn Paras, hrs (lyrng \vrsh rs to be barred rn l.r'noges, and so (atthhg the ham to the funeral are a mrxtur'e of the dead 'nan's frrends, lovers, students and relatyes Among them rs the art (rrtrt Franto.s rPasrai Gregory: and hrs noyfrrehd lours, as well as a parr of lt"(()‘.’(‘l'ill(} drug addrtts «Valer're Brunr- Tedestl‘rr and Charles Ber‘lrngr \.'.ho hate '(‘tt‘tllly splrt up Wartrng at the (ere-ete'y -s Jtnrn-Baptrste's t\.'\.rn rJean-Lours lrrntrgnartt' and the in nssexaa? ‘v’rx-ane -\”rn<ent Pere/i lhe atmosphere rs thrtk \.\.'rth grre" and "etr'r'rtrrtatron, atr rrony and hurt
Patrrte (hereau's frrst feature sr'rte La Rel/re Margot as a frertely r‘tense, net tat'riartrt melodrama whr<h, \‘.'rth every (har‘atter sufferrng sorr‘e fo'm of a personal ("rsrs, seeps \.eer’rng off rn unexpetted drr'ettrons There's 'ea who!“ and the (onfrontatrons and arguments, although by the er‘d a mood ot peatetflrlrress and (autrous optrrnrsrn has been establrslied Brrl?:a"!l\. shot espetrally the tram-bound seguentes rn handheld (Trrrer‘rastopt‘g [hose ".".r/:t> [ore rile rs also n‘rar'ked by a host of vrvrd, heartfelt perforr'rantes And the frnal shot of the (amera s\.‘.’(‘(‘l)lltt} oyer‘ the (emetery and up rtto the shoes, atton‘panred by an extratt from r‘\lahler's lOth Symphony, rs garte magnrf'.te"‘. lorn l)a‘.'.so".:
fdrhhurgh lr/nrhot/se from Mr 29 Sep See prey/er?
Intense. yet cathartic melodrama
z" se:‘ 5:): THELIST25