Jean-Claude Van Damme, aka "the Muscles from Brussels", had only a few movies to his credit when he played the hero in this lame post-apocalyptic action flick from 1989. It's really just another martial-arts movie, dressed down with near-future trash and dirty sets that have "low budget" written all over them. Van Damme plays the protective escort for a half-human, half-cyborg woman whose programming contains a possible cure for a plague that is threatening to wipe out the entire population of Earth. But the woman is kidnapped by Van Damme's evil nemesis (is there any other kind?) while they are en route to her Atlanta headquarters. That leads Van Damme right into a lion's den of sadomasochistic torture and torment. If you've made it this far (and if you have, why?), you are probably a founding member of the Jean-Claude Van Damme fan club. To everyone else: don't say you weren't warned--this is the kind of movie in which naming characters after electric guitars (Van Damme's character is named "Gibson Rickenbacker") qualifies as clever screen writing. --Jeff Shannon, Amazon.com
The fantastic visions of Belgian film-makers Marc Caro and Jean-Pierre Jeunet find full fruition in this fairy tale for adults. Evoking utopias and dystopias from Brazil to Peter Pan, Caro and Jeunet create a vivid but menacing fantasy city in a perpetually twilight world. In this rough port town lives circus strongman One (Ron Perlman), who wanders the alleys and waterfront dives looking for his little brother, snatched from him by a mysterious gang preying upon the children of the town. Rising from the harbour is an enigmatic castle where lives the evil scientist Krank (Daniel Emilfork), who has lost the ability to dream and robs the nocturnal visions of the children he kidnaps, but receives only mad nightmares from the lonely cherubs. Other wild characters include the Fagin-like Octopus--Siamese twin sisters who control a small gang of runaways-turned-thieves--Krank's six cloned henchmen (all played by the memorable Dominique Pinon from Delicatessen), and a giant brain floating in an aquarium (voiced by Jean-Louis Trintignant). Caro and Jeunet are kindred souls to Terry Gilliam (who is a vocal fan), creating imaginative flights of fancy built of equal parts delight and dread, which seem to be painted on the screen in rich, dreamy colours. --Sean Axmaker, Amazon.com
Regarded as Godard and Gorin's return to so-called mainstream cinema after a period of four years with the Marxist, Dzigha-Vertov Group making short films and videos for political groups and student campuses, during which time Godard had been forced to make TV commercials. Four years after the 1968 student riots, Godard's film directly addresses both the revised expectations of earlier radicals and the difficulty of trying to say anything radical in a conventional film form within a capitalist system. Jane Fonda and Yves Montand star as an American journalist and French ex-New Wave film director who get caught up with a factory strike and a sit-in where the bosses are held captive. With the ironic use of its stars, the film manages to be both politically astute, formally self-reflexive and entertaining.
The Thief Of Paris (aka Le Voleur)
Miranda runs a tavern in a small village somewhere in post-war Italy and juggles an assortment of lovers: a rich politician, a passing American GI, and a local gigolo, while all the time leading on and teasing the waiter she employs,
Cult director Jean Rollin's first feature mixes existentialism and vampirism with the added ingredient of chaos. Originally made as a short it was expanded to a feature length with the dead cast inexplicably returning to life half-way through (having been killed off at the end of the original). That said 'Le Viol du Vampire' is a masterpiece of the bizarre mixing blood a naked woman in a convertable coffins and some fencing semi-naked nymphs in a fragmented melee. When originally screened in Paris in 1968 the film caused a riot due to its' audacious imagery...
A Cinderella fairy tale set in the early 1930s Lady For A Day is a delightfully charming mix of drama and comedy that earned four Academy Award nominations and propelled Frank Capra to the top ranks of popular filmmakers. This was Capra's first major success establishing the model for the ""Capra-esque"" films that followed; and his first collaboration with legendary screenwriter Robert Riskin a partnership that produced such Oscar-winning classics as It Happened One Night
When 16-year-old Leila wakes up late one morning, she finds the neighbourhood silent and deserted. Everyone has mysteriously disappeared. Staring to wonder if she was the unique survivor of an unexplained disaster, Leila discovers four other teenagers: Dodji, Yvan, Camille and Terry. Together they will try to understand what happened and learn to survive in their world which has become hostile But are they truly alone?
Director Billy Wilder and writer Raymond Chandler adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy, is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown, Amazon.com
Master auteur Michael Haneke (Amour, The White Ribbon, Hidden) returns with a biting satire on bourgeois family values set in the shadow of the European refugee crisis. Featuring a cast of top acting talent, including Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz and Toby Jones, it's a piercing dark comedy on the blind preoccupations of middle-class angst. Nominated for the Palme d'Or at the 2017 Cannes Film Festival, Happy End bears all the hallmarks of Haneke's uniquely stark and unsympathetic style. Pairing pitch-black humour with chillingly precise direction, it's proof if we ever needed it that he remains one of modern cinema's true visionaries. Read more at https://www.curzonartificialeye.com/happy-end/#HiJoRqmElwrKDZ6e.99
One of the world's most influential filmmakers and a leadign figure of the Nouvelle Vague movement of the 60's, Jean-Luc Godard's works have trnasformed the face of cinema. 'Weekend' remains one of the most legendary, audacious and acclaimed films of his distinguished career. It follows a bickering, scheming, bourgeois couple who leave Paris for the French countryside to claim an inheritance by nefarious means. Almost immediately, they become entangled in a cataclysmic traffic jam, which is just the beginning of a journey fraught with violent and dangerous encounters: rape, murder, pillage and even cannibalism. Famed for its virtuoso cinematography - including a stunning ten-minute tracking shot - Godard's dystopian road movie is a ferocious attack on consumerism.
In wartime France, Raymond Samuel is captured after attending a meeting of the Resistance. His wife Lucie goes to extraordinary lengths, at great personal risk, as she attempts to rescue him before he is executed...
Brandon has a price to pay when on his stag weekend he wins ‘the most sexual conquests’ contest. One is interested in more than a one night stand and plans everything for him.
A Highland fling on a tight little island! The Scottish islanders of Todday bypass war time rationing and delight in smuggling cases of their favourite tipple from a wrecked ship... Basil Radford stars as the teetotal English official who is totally unable to comprehend the significance of whisky to the islanders. Marvellously detailed and well played it firmly established the richest Ealing vein with the common theme of a small group triumphing over a more powerful opponent.
Trapped behind the high walls of an austere orphanage in suburban Paris, Paul has only ever known one home. His chance to discover the great wide world comes when a bohemian couple, Célestine and Borel, take him back to their countryside home on a vast estate in Sologne, where Borel is the gamekeeper. Paul starts to explore his new home among the huge forests, misty ponds and fields, which all belong to the taciturn loner, Count de la Fresnaye, who Paul soon discovers has a fractious relationship with Borel due to the Count's toleration of poachers on his estate. Borel relentlessly hunts down these welcome trespassers, particularly Totoche, the most wily and elusive among them, who has befriended Paul unbeknownst to his adoptive parents. In the heart of Sologne, Paul will learn about the forest, its mysteries and the complexities of life alongside Totoche, but a heavier secret weighs down the estate as Paul's arrival seems to be no accident
Danny DeVito's adaptation of the Roald Dahl book for children is mostly just fine, helped along quite a bit by the charming performance of Mara Wilson (Mrs Doubtfire) as the eponymous young Matilda, a brilliant girl neglected by her stupid, self-involved parents (DeVito and Rhea Perlman). Ignored at home, Matilda escapes into a world of reading, exercising her mind so much she develops telekinetic powers. Good thing, too: sent off to a school headed by a cruel principal, Matilda needs all the help she can get. DeVito takes a highly stylized approach that is sometimes reminiscent of Barry Sonnenfeld (director of Get Shorty, a DeVito production), and his judgement is not the best in some matters, such as letting the comic-scary sequences involving the principal go on too long. But much of the film is delightful and funny.--Tom Keogh
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