Film index

a . t C l: \ a .V f“ ' ' ll, 2

'ni' ' I H k

VAT

i .

.c ad and " 'A‘spar

a rema ~ ' " iv " '5 Peter Bradshaw, The Guardian .

. 't gfunny". § . "I e seen' ' 19;.

-ii Telegrtfiqi c s, TOM CRAIG,-

TTINE, STEVE HUISON, VENN TRACEY, SEAN GLE MARilN JOHNSON war

lry lY Sound lemli‘d ‘. it: ‘- .A MARSHAIL (minim timigna RiSA HUGH! S lino Piodum Pi lFR GAllAGHER i‘qst . g, ‘- mini DAVID (illUiRlSi Maui] HAN MORRIS Must; GEORGE UNION “M C ' lCll Vln'ltitltl'i' i’iodiui-i O‘BRIEN l)|lt1l(>l KEN lOACll

‘s. l b _ < i . ' , ' o - ' J l _ . I wvngfipmkmayigators. .~ 1 @iretea‘sg I z "

For one week only from Friday 16 November

____;______ ._______ FHLMHQUSE Box Office: 0131 228 2688

.fltbequeensball

The Sid Vicious, the James Dean,

the CheGuevara, the Rimbaud,

the Damien Hirst of contemporary music!

The Steve Martiand Band

Friday 29 November 8pm £1 2/921 0 (concessions available)

36 THE LIST "2 2': Nu. 239‘

Me Without You I lSi 0000 iSandra (ioldbachcr. l'K. 2001 i .-\nna Fricl. .\iichcllc Williams, ()lix‘cr .\ii|burn. It)? mins. This Brit flick boasts a pair of star turns irom Fricl and Williams. Thcir on-scrccn rclationship as bcst i‘ricnds Marina and lloll} rcmains uttcrl} convincing throughout its ebb and ilou. irom London suburb schoolgirls in thc 70s through Brighton l'nhcrsit) sttidcnt ilatmatcs in thc 80s to (‘cntral London proicssionals touard tiic cnd oi that dccadc. (ioldbachcr drcsscs hcr bittcrsxscct pcriod drama immaculatcl}.

[)rau ing on hcr ou it past to co-u ritc thc iilm \\ ith Latircncc (‘oriat illiiiitlt’l'ltilitll. shc undcrcuts nOstalgia ior thc cra u ith gcntl} mocking humour. Scc rc\ icu. l'(i(' chircti Strcct. (ilasgou; L'(i(' (‘incinas. lidinburgh. Milk Of Human Kindness (Le lait de la tendresse humaine) 1 Hi tl)ominiqtic (‘abrcia lirancc. 200i i Patrick Brticl. \la} Iinc ('anto. [)ominitiuc Blank. inins. Drama in which thc birth oi a child scnds shock \\ a\ cs through a group oi pcoplc. ()nc da} a strung mothcr. (‘hristcllca is sci/cd u ith panic and runs out on hcr bab}. llcr husband looks ior hcr c\cr} \sbcrc. though shc is not iar. sta} ing \\ ith a iricnd. Part oi thc l‘rcnch l'ilm l~'csti\al. (ilasgou l5ilm 'I‘hcatrc. (ilasgou ; 'l‘hc Filmbousc. lidinburgh.

Misery Harbour: iSi tfs‘ils (iatip. \tit'ua). 3(ititii i It) mins. Drama irom thc dircctor oi thc much-praiscd l’iiI/iii'iiilt'r bascd on tlic liic oi tltc controxcrsial author .-\kscl Sandcmosc. \\ ho claimcd thc ciicct oi small toss n lix ing droxc him to murdcr. 'l‘hc Lumicrc. lidinbiirgh. Miss Congeniality Di 0 [Donald l’ctric. l'S. 3001 i Sandra Bullock. \iicliacl ('ainc. (‘andicc Bcrgcn. llil mins. Bullock‘s (iracic llart considcrs hcrscli iust onc oi' thc gll}\ in thc l’Bl. So shc‘s nonc too thrillcd

\\ hcn shc is choscn to iniiltratc thc ranks oi ‘bikini sttii'icrs' in thc .\liss l'nitcd Statcs l’agcant in a bid to catch a l'nabombcr-likc tcrrorist. 'i‘hc galumphing. charmlcss (ii‘acic nccds a makcmcr. (‘uc ('ainc's dcirockcd pagcant guru to attcmpt thc most miraculous transformation sincc llcnr) Higgins got hold oi lili/a Doolittlc. Bullock throus licrscli \sholc-hcartcdl} into thc procccdings. submitting hcr charactcr to a scrics oi undigniiicd pratialls. .v\s thc mo\ ic's produccr. shc onh has licrscli to blainc. ()dcon. Duni'crinlinc.

Monsieur Hulot’s Holiday t t’( ii

0... tlacqucs 'l‘ati. l‘rancc. 1953i .lacqtics Tati. Nathalic Pascaud. .\liclicl|c Rolla. 01 inins. .\i. litilot. thc bachcloi' “illi thc accidcnt-pronc touch. arrix cs at a jaunt} coastal rcsort and dcuistation \cr} soon cnsucs. ('omic timing at its most irrcsistiblc. as Tali gcts aua} \\ ith a numbcr oi incinorablc. slou-burning gags. all undcrcut b) thc stabbing notion that \\c all hax c an unclc cxactly likc Hulot. (ilasgou l’ilni 'I’hcatrc. (ilasgtm.

Moulin Rouge 1 iii cocoa r Ba/ Lubrmann. L'S. 2001 i i€u an .\lc(}rcgor. .\'icolc Kidinan. Jim Broadbcnt. ltib‘ mins. Lubrmann‘s iollou-up to RUNit'U A'- .lllllt‘l is a \tildl} unrcstraincd. gloriousl) camp. ludc as hcll musical M c stor} that rc-imcnts thc form, from thc (ioldcn .-\gc iloll_\ \tood song and dancc spcctaculars tip. lubrmann has transiormcd thc cpon} mous Nth ccntur) Parisian dancchall-cum-brothcl into thc ra\ c capital oi litii'opc. \\c;i\ ing 20th ccntur} pop music hits into thc \ci'} dialogtic oi thc iilm so that it bccoincs almost opcra. .-\nd spiralling around a lair} talc romancc bctuccn .\ic(ircgor's idcalistic poct and Kidman's dancc girl is a barragc oi riotous imagcr) and dcsign. Thci'c's no middlc-ground \\ ith Lubrmann's iilm; ii _\ou abandon )ourscli to it it'll lca\ c )ou into\icatcd \\ ith plcasurc. (icncral rclcasc.

Natural Born Killers l Ixi COO.

t()li\cr Stonc. l'S. 1904i Wood} liarrclson. Julicttc l.C\\is. Robcrt l)o\snc_\ .lr. l 1‘) mins. Stonc‘s \ istial and aural assault makcs ior onc oi thc most rcmarkablc cincinatic cspci'icnccs in _\cars: his attcinpts to iii;ii'i'_\ st_\ lc \\ ith contcnt. and pro\ idc a damning c\posc oi tlic mcdia adulation oi sci'ial killcrs is Icss succcssiul. lct dou n b} his tradcinark

o\ crstatcmcnt. \iolcnt. nicsiiicrising. hallucinator} and hold in its tisc oi \ariotis iilm iormats. .VIM' is a landmark in \i'I‘V- iiiilucnccd iilmiiiaking. (iiliiiorchill( i l I. (ilasgou,

The Navigators t lSi COO iKcn l,oach. l'K, Ztiill i Dcan .-\ndrc\\ s, Tom Craig. loc I)uttinc. 03 inins, You knoxx uhat sou'rc going to gct \\ ith l,oach: commitmcnt and social and political criticism. 'l'his timc round. is'cn is lainbasting rail prixatisation and. as c\cr. pinpointing a microcosm dicrc a crcu oi south Yorkshirc i’ailua) \sorkcrs in thc mid Uiisi to spcak ior thc uholc. Btit l.oach bludgcons tis \\ ith his mcssagc and la} s on thc socio-

s) mbolism: a thrcc-lcggcd dog. ior c\amp|c. is thc limping British cconoin). l’i'cdictablc and ioolish. btit ob\ iousl} has its hcart in thc right placc. 'I’hc i‘ilmhoiisc. lidinburgh. Nightwatch 4 ISI 0... «()Ic Borncdal. Dcnmark. |W4i \ikolai \Valdau. l'li l’ilgaard. Kim Bodnia. I04 mins. .\ la\\ siudcnt. moonlighting as a nightuatchman in a hospital morgtic. bccomcs iii\ol\cd in a scs killcr casc. 'l‘ightl} sci'iptcd. \\ ith itist a drop oi \\ ickcd black humour. M's/Iii: tin/I dclixcrs crccp} hints oi nccrophilia. \ iscci'al shocks and Iicart- racing suspcnsc. Stipcrior gcnrc iiiti\ ic- making. (‘(‘.v\. (ilasgou.

Notting Hill t l51 0.. iRogcr .\lic|tc|l. l'K. I‘N‘h .lulia Robcrts. litiin (irant. lltigli Bonnc\ illc, ll.‘ units. in a no“ pi'ohibiti\cI_\ c\pcnsi\ c part oi london. (irant's lou l} bookscllcr litcrall} bumps into Robci'ts' tilin star. ‘l‘hcrcaitcr. tlic} cngagc in romantic pursuits and c\cnttial|) ptit class and culturc clashcs asidc to in c liappil} c\cr aitci'. 'l'hc Icads don't strain tliciiiscl\cs. but Richard (‘urtis' script is iillcd \\ ith \i. itt} iokcs. pai'tictilarl} about national \lt‘i'L‘til}[‘L‘\. ()dcon. lidinbtirgh.

Nowhere To Hide . IS. 00 ilcc \l}ttiig-Sc‘. Koi'ca. Iiiiii i I’ark .loong-lloon. :\hn Sung-Ki. .lang Dong—Kurt. llil mins. (‘incmattigraphcr (‘luing ls'uaiig-suk rightl} \son auards ior tliis lilin. shot as a cross bctuccn a docti-drama and a high cnd manga li\c action ilick. l‘ollou mg a nitirdcr. a 'Z—tla} man htiiit is run b} a \ iolcnt cop who Icads his gang oi thugs around tlic \\ ct strccts oi Scotil. llc. oi coursc. takcs mcrflhrng pci'sonall}. cspcciali} \slicn his partncr is killcd. .\i_\ ting- Sc ti‘ics his bcst to kccp things ii'csh. btit littlc can sa\ c this dcroatix c drama. \\ liicli looks likc a soporiiic attcmpt to c\ploit thc itio\ ic— going public‘s currciit obscssion \\ ith Kting in late (‘(‘.\. (ilasgou.

0 Brother, Where Art ThOU?i III .... tlttc‘l (INCH. ('8. :lllllll (ic‘tii‘g'c‘ ('loonc}. .lohn ‘l'urturro. 'iim Blakc \clson. ll)" mins. l’i'cston Sturgcs' cgi'(."il!".ti'll.\ [mat l\ and Homch 'llii‘ ()(l‘- on arc tlic starting points ior this .‘ils-sct sci'cuball comcd}. Smooth-talking li\crctt li\sccs \lc(iill i(‘loonc) I. simplcton Dclmar \clsoni and inaladiustcd l’ctc i'iurturroi arc mcmbcrs oi a chain gang on thc run looking ior buricd loot. 'l‘hciriotirnc) tip and don n thc statc oi Mississippi brings tlicin into contact u ith assorch ccccntrics bascd on llomcr's imthological iigurcs. .\ lightcr uork ior thc ('ocns. morc Raising {ll'lfllllti‘ than l'iil‘L’rt. but it's still a rarc trcat. .-\ trul} captoating conicdcrac) oi dunccs. 'l'hc l’ilinhousc. iidinburgh.

Ollie Alexander Tiddiy-Om-Pom- Pom ll"! i:\liiic‘-.\l;li'lc Norholm. \oi'xsa}. Zillitii 03 iiillis Bascd on childrcn's author :\nnc-('ath \cstl} 's storics about ()llic .-\|c\andcr. thc littlc l‘o} \\ Iio li\ cs in thc tallcst building in his small to\\it “till his parcnts and a poodlc callcd puiiin. \"knou. it‘s ior kids. ‘l'hc l.umicrc. lidinbuigli.

One Plus One (aka Sympathy for the Devil) i 15i 0.. l'rancc. Mom Rcmltitionar} statciiicnt iiiccts rockumcnlai') as (iodard cuts bctxsccn llic Rolling Stoncs in rclicisal, black militants. a tc|c\ ision intcrxicxs about i'c\oltition and its

ilcan -l .tic (ioddard.

rclationship to ctiltuic and a i'ccitation oi c\ccrpts irom llt'lll Runs/it, \dam Smith 'llicati'c. is'ii'kcald}.

Orphans l lbi O... il’ctcr \ltillaii. l'k. I‘l‘Ni Douglas llcnshall. (iar) l.c\\is. Stcplicn _\ic('o|c. Roscmai'ic Stcphciison. lll5 mins. l-"our orphans oi \ar_\ iiig agcs attcmpt to conic to tcriiis \\ ith thc dcatli oi thcir bclmcd mothci during onc dark. storm} night iii (ilasgou. .\iu|laii's icattiic dirccting dcbiit mi\cs cmotional irankncss \\ rth humour \ci'ging on thc stii'i'cal to grcat ciicct. \Vlillc' indi\ idtial sct picccs and pcrioi'inanccs imprcss. tlic \sholc thing coincs togcthci icinarkabl}. (ilasgou l'lllil 'l'licati'c. (ilasgots.