Film Reviews

Alice, the only relatively normal member of the eccentric Sycamore family, falls in love with Tony Kirby. His wealthy banker father, Anthony P. Kirby, and his snobbish mother, strongly disapprove of the match. When the Kirbys are invited to dinner to become better acquainted with their future in-laws, things do not turn out the way Alice had hoped.

Set in the early 1900s in the fictional Catfish Row section of Charleston, South Carolina, which serves as home to a black fishing community, the story focuses on the titular characters, crippled beggar Porgy, who travels about in a goat-drawn cart, and the drug-addicted Bess, who lives with stevedore Crown, the local bully.

A drama based on the true story in which a black Vietnam-era veteran is allegedly murdered by a local white businessman who is later exonerated. The plot focuses on the role of a local high school teacher and the civil unrest that followed the acquittal.

The cold war, the space race, and NASA’s moon landing are landmark events that defined an era. But they are also fodder for conspiracy theories. In Houston, We Have a Problem! filmmaker Žiga Virc adds new material to the discussion on both fronts. This intriguing docu-fiction explores the myth of the secret multi-billion-dollar deal behind America’s purchase of Yugoslavia’s clandestine space program in the early 1960s.

A demented nun sliding through morphine addiction into madness, whilst presiding over a regime of lesbianism, torture and death. Sister Gertrude is the head nurse/nun in a general hospital, whose increasingly psychotic behavior endangers the staff and patients around her.

A collection of death scenes, ranging from TV-material to home-made super-8 movies. The common factor is death by some means.

Peter Whitehead’s disjointed Swinging London documentary, subtitled “A Pop Concerto,” comprises a number of different “movements,” each depicting a different theme underscored by music: A early version of Pink Floyd’s “Interstellar Overdrive” plays behind some arty nightclub scenes, while Chris Farlowe’s rendition of the Rolling Stones’ “Out of Time” accompanies a young woman’s description of London nightlife and the vacuousness of her own existence. In another segment, the Marquess of Kensington (Robert Wace) croons the nostalgic “Changing of the Guard” to shots of Buckingham Palace’s changing of the guard, and recording act Vashti are seen at work in the studio. Sandwiched between are clips of Mick Jagger (discussing revolution), Andrew Loog Oldham (discussing his future) – and Julie Christie, Michael Caine, Lee Marvin, and novelist Edna O’Brien (each discussing sex). The best part is footage of the riot that interrupted the Stones’ 1966 Royal Albert Hall concert.

A soldier introduces himself to the Peterson family, claiming to be a friend of their son who died in action. After the young man is welcomed into their home, a series of accidental deaths seem to be connected to his presence.

Political and sexual repression in Hungary, just after the revolution of 1956. In 1958, the body of Eva Szalanczky, a political journalist, is discovered near the border. Her friend Livia is in hospital with a broken neck; Livia's husband, Donci, is under arrest. In a flashback to the year before, we see what leads up to the tragedy. Eva gets a job as a writer. She meets Livia and is attracted to her. Livia feels much the same, but as a married woman, has doubts and hesitations. In their work, they (and Eva in particular) bang up against the limits of telling political truths; in private, they confront the limits of living out sexual and emotional truth.

After reuniting with his mother in Ho Chi Minh City, a family tragedy causes Binh to flee from Viet Nam to America. Landing in New York, Binh begins a road trip to Texas, where his American father is said to live.

Grady (Michael Douglas) is a 50-ish English professor who hasn't had a thing published in years -- not since he wrote his award winning "Great American Novel" 7 years ago. This weekend proves even worse than he could imagine as he finds himself reeling from one misadventure to another in the company of a new wonder boy author.

Ashokan (Mohanlal) goes on a trip to Nepal to meet his uncle (MS Thripunithura) who is settled there. To his surprise, his rival from his village Appukuttan (Jagathy) is already there impersonating him. He is unable to convince his uncle about the truth and gets kicked out of the house. While trying to find shelter he meets a young Nepalese boy (Sidharth Lama). Though they don't understand each others' language, they quickly form a bond. Meanwhile Ashokan is able to convince his cousin Aswathy (Madhubala) that Appukuttan is an imposter. Aswathy who is a student researching ancient Nepalese traditions realises that the young Nepalese boy is actually a Rimpoche, the spiritual leader of his tribe and is on the run from evil forces who want to banish him. Ashokan gets sucked in to the scenario unknowingly and ends up being the Rimpoche's protector.

A painter from the big city goes to a remote canyon to commit suicide. To reach some calmness he stays at the farmstead of Ascen, an old religious woman. Although but a few words are spoken love grows.

Blind swordsman Zatoichi, jailed briefly, is implored by another prisoner to aid him in proving his innocence of a crime for which he is sentenced to death. Zatoichi is reluctant to get involved, because he knows how often such involvement has led to trouble in the past. But events conspire to thrust him repeatedly into involvement, and gradually he comes to believe in the man's innocence and determines to free him.

The film takes place in 1973 during the Yom Kippur War in which Egypt and Syria launched attacks in Sinai and the Golan Heights. The story is told from the perspective of Israeli soldiers. We are led by Weinraub and his friend Ruso on a day that begins with quiet city streets, but ends with death, destruction and devastation of both body and mind. Various scenes are awash in the surreal, as Weinraub's head hangs out over a rescue helicopter's open door, watching with tranquil desperation as the earth passes beneath, the overpowering whir of the blades creating a hypnotic state. It is not a traditional blood, guts and glory film. There are no men in battle, only the rescue crew trying to pick up the broken pieces.