To say this ultraviolent 1983 flick is Chuck Norris'best movie might smack of faint praise, but what's good is mostly down to David Carradine as his strutting, butt-kicking, cigar-sucking nemesis. It's a modern-day western, heavy on the spaghetti, with Norris'Texas ranger taking on Carradine's gun-runner and his army of disposable borderland Mexicans. Did Walter Hill watch this before making Extreme Prejudice?
A kind of Australian answer to Lock, Stock...without the masturbatory middle-class fascination with lowlife machismo, David Caesar's exuberant yarn about slot machine wars in 1960s Sydney is a riot of garish hues and lurid trouser suits. Toni Collette rises above a routine plot and meaty cast (Bryan Brown, Sam Neill) with her sassy gangster's moll routine.
Another reworking of the Betty Blue mythology, with the always watchable Valeria Golino as the Sicilian free spirit who is deemed nuts by her husband and run out of town for such sins as spontaneity and unconventionality. Sun-baked scenery and a lurch into magical realism at the end makes it more than the sum of its parts.
Up there with Citizen Kane as a standard bearer for the medium, and still utterly compulsive. FW Murnau's first US movie, dating from 1927, deploys a battery of impressive camera techniques in telling the story of a steadfast family man seduced by Margaret Livingston's femme fatale.
A fascinating study in waning star power disguised as a cop movie, disguised as a comedy, this reveals the Harrison Ford screen persona at its most intransigent, here playing a 'big dog' cop who hates rap music and yoga, punches people, solves murders and sleeps with Lena Olin.
A contemporary coming-of-ager about a fiery 12-year-old Maori girl (Keisha Castle-Hughes) and her bid for the hyper-masculine tribal throne, Whale Rider is full of apposite Disney pluck, yet simultaneously shot through with a worthy, odd and inexorably cloying adoration of the mystical juju in Maori tradition.
A strange one, this, with Bowie's usually obsessive control seemingly relaxed enough to have allowed packaging that looks cheap and hurriedly slung-together. The content, though, is better—a straight documentary, punctuated with live and video clips, and interview snippets with Bowie, Iman, Iggy Pop, Trent Reznor and Moby. There's lots of rare early stuff but, for all his eloquence, the music does the talking best of all.
Directing, co-writing and starring, Matt Dillon does a pretty solid job. Set in a modern-day Cambodia full of outcasts and fugitives, the plot slowly curdles from globe-trotting crime thriller into primal psycho-weirdness. Dillon never shakes off the second-hand influences, notably David Lynch and Apocalypse Now, but a rich cosmopolitan texture is added by an eccentric cast including Gerard Depardieu, Stellan Skarsgård and James Caan.
Since much of B&S' cult appeal stems from the fact they're seldom seen on telly, this two-hour compendium of videos, concerts and interviews (basically their entire career from 1996 to 2002) feels like a sneaky peep into the world's most secretive band. Unashamedly twee, but eccentric, funny, and quite beautiful.
