Anthony Hopkins completes his Hannibal Lecter set with this remake of Michael Mann's Manhunter (1986). It's more faithful to Thomas Harris' novel, but a lot less stylish, and the performances are uniformly worse: Ed Norton is merely adequate as the empathic FBI detective, while Ralph Fiennes is positively wooden as serial killer Francis Dolarhyde, and even Hopkins is below par.
George Stevens' Biblical epic is sometimes sluggish and often po-faced, but it's never less than fascinating. A political film-maker and a great chronicler of national identity (see Shane, Giant, A Place In The Sun), Stevens consistently swamps the New Testament in blatant Americana, letting Charlton Heston, John Wayne, and the massive crags and buttes of Utah boldly reinvent Jesus, and Israel, for the American century.
Commendably lurid directorial debut from Asia Argento—international soft-porn horror princess and Vin Diesel's way-cool goth-vamp co-star in xXx. Dario's daughter not only writes and directs but also stars as a thinlyveiled version of herself, shagging and fighting her way through a sinister, male-dominated, sex-driven film business. Demented, narcissistic, monstrously self-indulgent—all the qualities, in fact, of the very best cult cinema.
Kathryn Bigelow's Cross Of Iron, basically, with Harrison Ford's Soviet submariners the embattled equivalent of James Coburn's Wehrmacht platoon, both groups of men fighting for their lives in films that perhaps unsurprisingly failed to make a huge impression at the box office. Terrific in parts, with imperious turns from Ford and Liam Neeson, Bigelow handles the action stuff brilliantly though comes close to mawkishness in a tear-stained coda.
A terrific Japanese rites-of-passage drama shot Dogme-style on digital cameras, this puts a fresh twist on the timeless themes of alienation, dislocation and teenage angst. Shunji Iwai's impressionistic, cutting-edge ensemble drama weaves together the lives of several emotionally wounded Tokyo teens united by their blank worship of a distant pop idol, Lily Chou-Chou. Pretentious, but still a punky new voice in Japanese cinema.
Ken Loach at his best. First-time actor Martin Compston is outstanding in the role of Liam, a teenager growing up with a mother in jail, a drug-dealing stepfather and no future to speak of. But Liam is a bright kid who dreams of a normal family life. He's determined to make enough money to rent a home for his mother for when she gets out of jail. It's heartbreaking stuff that combines a political message with real humanity and a rich strand of black comedy. Highly recommended.
One of the worst products of Hollywood's epic era stars a youthful Richard Burton as the bold conqueror, replete with fluffy blond wig. Decently performed by Burton and the likes of Frederic March, Harry Andrews, etc, Alexander The Great is beautifully shot (and nicely cleaned up on this DVD by MGM/UA) but suffers from pacing so leaden that it makes El Cid look like The Terminator. Amazing to think that, five years later, writer/director Robert Rossen would redeem himself by making The Hustler.
As producer, Ridley Scott—clearly in a good mood—leads us on a pointless trawl through the dusty dirt roads of comedy thriller territory as confused country boy Clay (a smouldering Joaquin Phoenix) gets duped into hanging loose with fast-talking rhinestone cowboy Lester Long (Vince Vaughn). Quite where we fit into this generic nonsense is something else altogether.
