Impulse (Arrebato) t 15’) than Zulueta. Spam, 107‘)» Iti-itntn. A dtrector' oi B-
mo\ te\. addtcted to ctnettta and lter'otrt. encounter\ a )ttllng. ohxexsed filrttruaker \xho lip\ lil\ lti'e trtto another realttt. lntluenced h} ('octeau and llur‘tel. autortg otlter'\. and. trt turn. a htg tnfiuence on l’eth‘o .-\|Itttttlo\at'. (if-I: (i/uwmt, insomnia t l5! .... t('ltrt\iophci’ Nolan. l'SA. 2002i Al l’actno. Rohtn \thharnx. .\iarttn Dottotan. llh’mut. Nolan r'e-dtr'ects tlte Nor'uegtan thr'tller ol' tlte same rtattte ;t\ a \tiittt'il) -plotted th} lltllar} Sett/t .-\mertean crtnte drattta “hiclt halanees fine cltar'actert\attort artd tltetttattc concernx u ttlt \tunnrng \et piece» The filtu centre\ on a battle oi \\tll\ hetueen l’actno'x \eteran cop artd \\'tlham\' dtxturhtngl) rtortttal ktller. Satd hattle occurx ttt tlte rtortherrt Alaxkan to“ mhtp oi \tglttmute. a place of perpetual da}hght \\ here l’aemo'x \\'t|l Dormer can't get rto \athlactton. nex er ttttttd \leep. ('(i(' Renm'u Street. (ilutgou; ('(i(‘. Ifdmhurelr. lntacto t IS) tJ(' l'tLWiitttltlltt. Spatn. 200]» Hih‘mtn. lhghl} ortgtttal thrtller ahout trade trt tlte corned) ‘htck'. A plarte craxh
\lli‘\ nor “how luck hax ttlliithl run ottt l\ atded h} art earthquake um um xx ho otters to \a\ e lttttt l‘rom pi‘htiii rt. trt turn. lte \ttll gamble on lil\ hehalt~ trt a htd i‘or re\enge. (il'wl'. (i/ttwutt.
into the Deep tl't t\'artou\. l'S. 2001i .\ltn the, PM on )our 3!) glaxxex to “Hill \xtth colourtttl garthaldt. \tarfixh attd xharkx‘. pla} tag \\ ttlt \ea honx artd ohxerxe rarel} \een hehax tour of \qutd artd other creature» l.”.'\.\'. (I'ltlyr'rm.
Irreversible t Ix» sees t('t;t\par Noe. France. 95’ .\lontca Bellucct. \'tneent ('axxel. Q7mtn. Irn'tertrltlt' l\ tlte \tor) ot' the \IL‘lOlh rape ot‘ .-\|e\ rBellucctt and tlte re\enge takert h} her ho} t‘rtend .\iarcu\ t(‘a\\elt and lter e\-ho} t'rtend l’terre tDupontelt. The firxt of man} \t} li\lic‘ trtckx tltat .\'oe pull\ on lih audience i\ to tell lih tale trt re\er\e, So we \tart dtxortentated tn tlte heat ot‘ retrthutton and work hackuard~ to a \lliti ghrnpxe ot' happtnexx that precede~ t‘utttre tragedtex. Ha“ ed and Cllliih). hut techntcall} hrtlltant and otten trul) repellertt. )ou are unhkel) to see the like of Irretertrhle agatn trt a Income of mm ltrtg ctnetna‘x gutter ('umm A“ liltrm'r ill/tree. Edinburgh.
Jackass: The Movie 1 Hit sees llt‘linClii‘diiiC. l'S. 2003i Johnn} Kno.\\tlle. Barn Margera. ('hrts Ponttux
57mm. We all knou tlte \kil h) tum; e\treme \portx dudex \uhtecl theut~el\e\ to pattt for our erttertatrtuteut. 'l'lte .\i'l'\' \ltt.t\li that ha\ throun Kno\\ tlle attd llh
\tttttlm rlle ttl c‘ttltttt'h Uiiltt the llttll} “(Mid .'\-l.l\l. no“ a\at|ahle trt \ttpet'-e\tended rtto\ te t‘ot‘mat. li\act|} tlte same ax the TV \htm \ttrlttttx \lttttpltl \ith\ all L'tllicd together “till gung-ho ahandon hut \\ ttlt a \hghtl} ltrgher' budget He the} go to ‘l'ok'm artd llenr') Rttlltth cropx upt. None oi tltat plot ruhhtxlt or an}thutg elxe that'll xlou tltfikli lliC c‘tii'litigt‘. (it’lit‘l'u/ N'lt’tlH'.
O Japbn t 13! ... t('.'tl'|0\
Re) gadax. .\le\tco/Spattt. 21K),‘\t:\letandro Ferrettx. Magdalena Flores. 133mm. A pli_\\lc‘till_\ attd erttottonall} crtppled man lea\e\ the ctt} to commtt \lllc‘ttlc trt the countr}. \Vhen lte findx tentpor'ar} \helter' \ktih .‘t \iotcal oltl \uttttttli. htx tlttllcd \ett\e\ are re\ M ed h} her trtfirttte humamt} attd the \a\age. rural Iandxcape oi .\le\tco'\ lttglt countr_\. .\'othtng to do utth Japatt. Re}gada\\ dehut teature ttliih. ax tlte tttle \ttggextx. at thought-prmoktttg x) rttholtc ctrtertta ratlter tltart prexcr'tptu e filntntaktng But for all |l\ \l‘-llttl iii&i_|C\l} artd ii\ iiiclttpli}\icttl cortternplattonx. Japan 1\ not ax deep attd meantngi'ul as rt \\.Iiil\ to he. relttrtg too hea\ ll) on ll\ all loo \ltallou glithttlhm. See prexteu and rex It“. l'l/III/IUHH'. Edinburgh.
Just Married r l2.»\t tSltau rt l.e\_\. l'x. 3003i Axhton Kutcher. Brtttan) Morph). ('hrtxttan Kane ()Stntn. .\iurph_\ caprtahxex on limtnem attd «5' .iltle propelltrtg lter trtto tlte Itmeltgltt unit a lead role ttt llil\ teert rom-com. ller iic“ I} u ed e\pertence\ \UttiL‘ earl} marttal ~trtt'e \tlten \he take~ huhh) to hone)moon trt littrope. Laughs attd loxe- maktng ensure. ()r. pcrltttpx ttot. (I'mru‘ul release.
The Kid Stays in the Picture t IS 0.. t.\'anette Blihlctii artd Brett Morgan. ('8. 2t)()l t 92mm. Burxtetn and Morgan'x docuntentar} doexn't atterttpt to pro\ tde art ‘ohrecttxe' accottrtt ot‘ tlte up\ and dounx ttt tlte turhulent ltte ot llollyuood producer Robert li\an~. Baxed on tlte |atter'~ autohtograph} artd rtarrated h} the gra\el-\otced ii\ans hunselt. tt'x a \llL‘C of \educttxe iii)lh-liittkiiig. Sttll tt'x a remarkable stor}: ho“ a faded actor hecame head of productton at Paramount tn the rntd- Notix artd tranxt‘ormed the atltrtg \tttdto'x t'ortunex. h} o\er\eetng a xtrtng ot httx. Including Rmemun '\ [hr/H. Lute Stun. Ilic‘
g; r ;. .
Big hit in Norway: Eillng
(I'm/lull): r and (.lllllllltllt II Harm I \t/lrret. lztlrIt/mrg/r
Kind Hearts and Coronets rm}. 0... tRoher‘t llamer’. l‘K. l‘M‘lt l)c‘iilil\ l’r‘tce. .-\lec (lliliiiit‘\\. Joan (ireermood. \'alerte lltthxttli. lHomtn lilacker than black ixaltng comed_\ ha\ a \tta\ e artd \ophtxtrcated l’rtce ktlltng oil art ertttr'e tamtl) tree tall p|a_\ed h} (llllllllL'\\l ttt Ut'tlci in HM“ L' lillihcll c'lt\\L'i in the tl':\u‘o}ttc‘ tamtl} tttle l,o\\-ke_\ c)ntct\m artd tll\.ii’liiili}.‘ callottxttexx rttake rt a true gertt ot llt’rtnlt poxl-uat' ctnenta “(llllt I l'r/ltrer'. lit/rIr/true/r
The Last Great Wilderness lit 0... (Hand \lackert/te. l'K. .‘HH‘: .-\h\tarr \lacKen/te ‘Nlrmu. (‘har'he I\ trt a titttlttl‘\\tt} \er‘\ tce \iailrtlt. tilt lttx \\.t) to .t houxe-hurmng tn Sk}e. \then lte meetx \'tncente. a rttad halt-Sparuxh gtgolo on tlte run trout a crtmelord lle agree\ to gt\e lttttt a lrtt. 'l‘he patr' run ottt ol petrol ttt tlte remote \Vexler'n lltghlandx. artd ertd up \eektrtg \helter tn a r'etuge filled \\ ttlt eccentrtc character‘x .-\ great lir'tttxh filttt. hrtlltantl} \hot. tertder. angr} artd tull ot htlartottx. eeortouttcal dtalogue. u ttlt .t firte xoundtrack h} The l’a\te|~. l’re\ teu \creentng \\ tth [Wi'xttiial appeatartce h} the director. I'tlm/rorm'. I'.t/lIl/’llI'L'/i
Letters from a Dead Man IN)» C... rKonxtanttn l.opu~han\k_\. l'SSR. Nam Rolan ll}ko\. loxet l{_\khn Mtttttrt In art tuhoxpttahle [Mst-holocattxt landxcape. \lli'\l\t)r\ \truggle on. ttto\t notahl} a torruer .\'ohel l’rt/e \xtnmng \cit'illhl. \kltrt liiL'\ to keep li|\ utemortex ahxe h} \xr'tttng letter\ to lii\ dead \ott. l'ndentahl} a gruelhrtg e\pertence. tlte thitmhlilitgl} \epta-toned ~cenex ot de\a~tatron artd the firtal \ptrttual cullitihh make rt alxo a wry trtuch \xortlt\\ht|e otte. I‘a/rIr/ture/r I‘r/nt (iur/tl lz'tlrrthure/t.
The Life of David Gale 15» so r.-\|an Parker. ('8. BUM» Ke\ tn Space). Kale \Vtttxlet. l.aur'a l.lttliC}, ‘Nmtn \ol the fir~t filrtt to tackle the tnoralrt) ot the death penalt} tlh'm/ .iltm Hit/Arne ha\ been the moxt succevfitl t. l’ar‘ker\ filrn lia~ pluck} llC\\\ reporter Btu} Bloom r\\‘rn\lett engaged tn a race agaltht [true to prme the trtrtocertce oi (iale «Space_\ t. Once the state'\ leadtrtg [)eath Rou .ihtililltiiihl. (iale no“ t'ace\ the cltatr htrnxelt tor the murder ot lih colleague (‘onxtance llarraua) llJiiilC} t. l)e\ptte rt~ north} trttertt the amateur detectu e dillic'\ or llttx} artd the
.ndex Film
~tmph~ttc marttrdortt ot (talc make tor an uttttrtattng tltrrller that treat~ a \er} ~errou~ l\\tiL' ttt an all too lit\ tal rttartrter See
it'\ 1C“ (rt '2! ’ul.‘ '( t‘t t.'\t
Like Mike tl’( i» C John Schultz.
l S. :lhllt I ll llou \\o\\. \lttillx (‘hctrmtr ('rnput (ilo\er ltN'rttm -\ halt-hearted haxkethall ('tnderella -\ patr oi \xeatheted \neakerx heartng the tcomc haxkethall legenth tmttalx '\lJ' lead the |tttle orphan ('al\rn to tetgn xkrllx on the court at a Kntght~ l‘.t\kt‘ll‘all game Recttttted tor the \trugghng \llk team. (‘al\ tn leatl\ the teartt to \l|\\L‘\\ -\cttug \kill\ ltere are true~ttonahle and depth ot character ltttttted l nttttagutatrte dtalogtte ta|l~ tottl \Hllilii the predtctahle. cltee\_\ plot \\or\e. the l\.t\keil‘al| \ettuencex are tormttlatc. \Klillt‘ cameo .il‘l‘C.lltillLC\ ot \ll:\ \tar\ and a tatr}tale ettdtng do not lilii‘it'\\ \( t} t I: d
It ll tin
Little Shop of Horrors .t’( it see rl-rank ()/.l 8. Who. thk \ioramx. l'llen (iteene. Ste\ e \larttn ‘Nrtttu l)eep ttt the tlorrxt xomethutg l\ \tttttng. a\ meek green fingered t_\pe dtxcmerx that lit\ ta\ourtte plant. '\tl\llt'}. i\ actuall) a ilexh cra\tng altert trottt outer \pace l)att. entotahle \cr'een \t‘hlttti ot the \tagc Illll\ic.tl. \xttlt iunn_\ tohage ettectx. attd a hee/er \dillt‘U trout \lartut ax a htker \lt'iilhl (Y Li. (i/tt'teutt
Live Forever r 1‘: see (John l)tt\\Cl. l'K. Illll‘t hlrtttrt l nlexx _\ou hu} utto l)o\\er\ tdeah~ttc theor} that "the etglttte~ \\ ere crap attd the tililt‘ilt'\ h} contraxt \tete \ thrant. cream e attd tltrtlhng. )ott'll find the \elt-aggrandrxtug tone ot llil\ \omeuhat narx e tltk'tiliit‘lllttt'} about the llrtt l’op pltertorrtertou qutte i’ltlictilttth llut that doexn't make tt an} lexx ento}ah|e to watch. expectall) the pdi'h “here lihtr artd ().t\l\ htcker oxer‘ uho'x more \xorktrtg \l.i\\ \\ ttlt the notable e\cepttou ot Jarx rx (‘ockeL eter} otlter corttmentator dtgx tlterr oun gra\e. SCL' t‘L'\ lt‘“ Xr'lt't Ir't/ H'It'ttu' Loneliness oi the Long Distance Runner r ISA» sees r'i'ott} thhardxon. l'K. l‘lttlt .\ltchae| Redgraw. ’lotrt (‘ottr'tc'tt.t}. .-\Iec .\lc( 'ouen ll‘lllllll Adapted h} Alan Stlhtoe trom ltl\ tt\\ll \tol‘}. llil\ i\ a fine e\amp|e ot (\llx lhtttxh ctnema tn the \octal realtxt \eut. ('ottrterta) e\cel\ a\ the rehelhoux _\outlt \xho rx xend a ho} 'x r'etorm \chool alter rohhrng a baker) artd Ptl\lit‘\ hurtxelt to turrt lll\ hie arourtd ('tmrt'u. [aim/Hugh,
The Lord of the Rings: The No Towers t IZAI C... tl’eler Jackson. l'S/Ne“ Xealand. 31MB! liltrah Wood. \‘tggo .\iot'teu\eu. l.r\ 'l‘}|er 170mm. 'l'he \econd part ot Jackxon'x anthtttoux three- pat'l adaptattou oi JRR 'l‘olkten'x epic lattla\} ad\entttre rtttgltt lack the \tor')te|hng \er'\e ol the tint film. but ttt termx ot \pectacle tt takex hloekhuxter filrtttttaktrtg to the nut letel (‘onttrtutng \therc 'I'Iu' l'(‘//l)l\ \lrrp of the Rme leit oti. \xtthottt an} recap ot the \tor) \o iar. I’lrt' Tito 'Imu'n lollou \ three \cpat‘ate PlUllliiL'\l l‘rodo‘x trek to Modor to dextro} the mug. lil\ iellou llohhttx' rtteettrtg \kllli the lints malktng. talktrtg treext and the hurttan/eli/duarl comho Aragon. l.egola\ artd (itmtlt'x part tn the xtege ot the httrrtart \tronghold llelm'x Deep h) the e\ tl \H/éti’tl Sauraman'x l(J,tNN)-\trttttg arm}. The latter pr‘oxtdex the hour-long chmax to the film. artd tt'x art au exome tlttttg to heltold. But l‘r'odo'x meettng “tilt the rtng'\ pre\ roux ouner'. (lollurn. alxo tmpressex - lull} corrtputer antrrtated character that getter‘alex ax much entottort ax all) Hi the h\tng pertormerx. 'l'he filrtt \utterx irom hetng the \econd act ot 'l‘olkten'x tale. hut tor Jackxon'x three hour film \ l\i()ii. there's no \xa} around that. (it-Item!
here\ a
I't'lt’tl \(’
Check out the Blag Bag for great
‘ 3-2“ My 231': THE LIST 33