September 13 Red Road (UK/Denmark 2006) 113 min. [IMAGE]Another fine feature from across the pond, RED ROAD is ahugely popular European thriller that will keep you gripped right upto the unpredictable end. Director Arnold won the director's prizeat Cannes for this little masterpiece. RED ROAD is a productof a Scottish-Dutch initiative called Advance Party, its principlesof filmmaking having evolved from the Dogma group of Lars von Trier,et al. So it is that RED ROAD is low-budget, shot on location,and resolutely, darkly, realistic. So-called extras are real peopleon the streets of Glasgow: as little staging as possible has goneinto the work, and the effect is intensely immediate. The "red road" isthe low-housing area where Jackie (Dickie) is paid towatch closed circuit footage of the drug-addled streets. One day shenotices someone familiar on the camera. A chase of a kind ensues,with all the paranoid plot points of noir, leading to athoroughly stunning conclusion. Note, the sex in this movie is asreal as it gets. Rated R for just that reason.
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September 20 La Vie en Rose (France/UK/Czech Republic 2007) 140 min. [IMAGE]This film is also widely known as The Passionate Life of EdithPiaf, which tells the whole tragic story in a nutshell. Still,blurbs must be written and this one emphasizes the brilliance ofMarion Cotillard's performance. Not even Dr Phil could haverelieved Piaf's amazingly unfortunate circumstances, abandoned byher mother and father in turn, surrounded by prostitutes, approachingblindness, reaching the full height of 4'8",overly fond of drink and drugs—and there's more. But it'simportant to rememberthe music that Piaf managed to make, leaping from the sidewalks ofParis to the grand stages of the world, singing her tiny heart outwhile in love with several famous French guys, broken-hearted fromsame, and yet always looking on the bright—or rosy—side.LA VIE EN ROSE is guaranteed to make you laugh, cry, and downloadsome Edith Piaf.
September 27 Introducing the Dwights (Australia 2007) 105 min.Rated R for sexual content and language. [IMAGE]Known as Clubland in Oz,INTRODUCING THE DWIGHTS features the always reliable actingchops of Brenda Blethyn, here playing the overbearing matriarch of adecidedly dysfunctional batch of under-achieving victims. Harbouringa grudge and a deluded self image, Jean (Blethyn) believes she isinfinitely better than the rest of her clan. This entirely falsenotion comes from having been a mediocre stand-up club act, which shestill performs to excruciating excess. Obviously an embarrassment toher children and a fright to civilized audiences, Jean needs to crashand burn before the movie can advance the lives of its youngercharacters. Alternatively comic and poignant, INTRODUCING THEDWIGHTS has a strong element of Aussie irony, never allowingitself or its characters to take things too seriously.
November 15 Offside (Iran 2006) 93 min. [IMAGE]True story: director Panahi wastold he could not bring his daughter to a soccer match in Iran, and sohe decided to tell the world about it. The result of this absurdity is astunning comic gem, laced with poignancy and strong politicalsignificance, but light and lively nonetheless. OFFSIDE is set inTehran, specifically in a soccer stadium from which female fans arebanned. No gender mixing allowed. And so a feisty group of young womentry to pass themselves off as young men, but are caught and put behindbars, with the impassioned sounds of the game teasingly within hearing,but never within sight. The comic drama of the film is generated notfrom the game but from the interplay between the imprisoned girls andthe young, somewhat baffled guards who have to keep them in their place.Ultimately, it's clear that everyone is trapped in such a repressivesociety. Amazingly, the director managed to make this film right underthe eyes of the censors. If you recall Panahi's Iranian masterpiece TheCircle then you know you are in the hands of a master.
Copyright law, however, allows educational use of a film in the course of "face-to-face" instruction, provided that the copy of the film used was lawfully made. Specifically, the Copyright Act states:
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The Hateful Eight (2015) is many respects a typical Quentin Tarantino film. It bears the trademarks of his oeuvre, which is known for its outlandish, comic-book levels of violence and for such copious popular culture references (music, film, and TV) that some describe his cinematic style as "pastiche." (1) Tarantino films are particularly replete with references to earlier films, and, like his previous film, Django Unchained (2012), The Hateful Eight is especially indebted to Spaghetti Westerns. 2ff7e9595c
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