Abel Ferrara – New Rose Hotel (1998)


Based on the Short Story by: William Gibson

This film has got alot of mixed reactions. Some hate it, as they most likely expected alot more from a William Gibson adaptation with such a well known leading cast, others feel that it is an excellent science fiction movie that is getting an unncessary amount of criticism. Ill be honest I havent watched it yet, but scrolling through taking the screenshots i noticed that there is lots of Asia Argento titties…and they are spectacular. I’ll let you guys decide how good the film is for yourself. Continue reading

Ken Loach – Land and Freedom [+Extras] (1995)


Review (Marcus Whitfield, Edinburgh University Film Society)
Ken Loach collaborates once again with Jim Allen, his partner for Days of Hope and
Hidden Agenda, on this moving story about the struggle between a group of young
political idealists fighting against the Franco regime during the Spanish Civil War. The
film received international acclaim not only for the outside perception of the British
writer and director but also for an undocumented part of Spanish history that dealt with
the ordinary men and women that took up the struggle. Continue reading

Paul Schrader – Light Sleeper (1992)


The movie … is filled with great weariness and sadness; the party has been over for a long time, and these old druggies, now approaching middle age, have been left behind. Because they were survivors, because they were more intelligent and honest than most, this is the thanks they get: They continue to work in the scene long after they should have been replaced by a new generation of losers.

This movie isn’t about plot, it’s about a style of life, and the difficulty of preserving self-respect and playing fair when your income depends on selling people stuff that will make them hate you. Continue reading

Krzysztof Kieslowski – Trois Couleurs: Rouge aka Three Colors: Red [+Extras] (1994)


The concluding chapter in filmmaker Krzysztof Kieslowski’s “Three Colors” trilogy, Red stars the luminous Irène Jacob as Valentine, a young student and fashion model who befriends a bitter former judge (Jean-Louis Trintignant, his character a proxy for Kieslowski himself). Their accidental meeting is just one of the many chance encounters woven through the narrative fabric of this feature, the most accomplished effort in Kieslowski’s highly ambitious series. Like its predecessors, Red corresponds to a color of the French flag, as well as the color’s symbolic attributes. The subject here is fraternity, and indeed, its central characters are all closely connected, their destinies locked on a collision course. The film’s final scene even ties up the trilogy by bringing together the protagonists of the other features.
~ Jason Ankeny, All Movie Guide Continue reading

Harmony Korine – Julien Donkey-Boy (1999)



O, mio babbino caro plays as a woman skates gracefully. In contrast, little is graceful and daddy is not dear in Julien’s world. His father listens to blues wearing a gas mask; dad prods, lectures, and derides Julien as well as Julien’s brother and pregnant sister, while grandma attends to her dog. Julien is different, schizophrenic. He wears gold teeth. He bowls, sings, worships, and chats with a group of young adults with disabilities. His sister’s child is probably his own. He talks on the phone, imagining it’s his mother, who died in childbirth years before. He may be a murderer of children. From his point of view (perhaps), the film follows this odd family for a few weeks. Continue reading

Hitoshi Yazaki – Sangatsu no raion aka March Comes in Like a Lion (1991)


TimeOut London:
March Comes in Like a Lion

Or, perhaps, love among the ruins. In present-day Tokyo, a waste land of tenements prey to decrepitude and demolition, ‘Ice’ (Yura) decides to collect Haruo (Cho), the young man she’s set her heart on, from the hospital where he’s being treated for amnesia. A little lie is needed to entice him back to the apartment she’s found for them: she tells him she’s his lover, neglecting to add that she’s also his sister. With no recollections to suggest otherwise, he goes along with her – but how long before his memory returns? With its long, static, carefully composed takes, taciturn script and tantalisingly ambivalent tone, Yazaki’s beautifully matter-of-fact study of incestuous longing is an engrossing, sexy and remarkably tender movie. Crucially, it eschews both easy judgments and fake sentimentality; indeed, there’s a droll, deadpan humour at work, most noticeably in the frequent sight gags. At the same time, however, the evocative use of metaphors ensures that the general air of detachment makes not for a dry, academic exercise, but a poetic tale of a fragile, blossoming romance that’s finally both subtly subversive and, thanks to the charismatic central performances, deeply affecting. Continue reading