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Japón

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OPENS FEBRUARY 21, CERT 15, 137 MINS A world-weary, middle-aged man (Alejandro Ferretis) leaves the din of Mexico City and heads out into the remote countryside to prepare for his own death. That's the starting point for young Mexican director Carlos Reygadas' sombre, elegiac first feature. Ironically, in this arid wilderness, the man's appetite for life returns. He becomes closer and closer to the elderly, very religious Indian widow (Magdalena Flores) with whom he takes lodgings at the mouth of a huge canyon. He tries to protect her from her unscrupulous nephew, who's after her property. In one scene, which could easily have seemed prurient or lapsed into Harold And Maude-style comedy, he has sex with her. Reygadas handles the potentially embarrassing encounter with such delicacy and gentleness that it defies anyone to laugh. Despite occasional lurches into existential pretentiousness, this is a highly impressive debut which underlines the recent resurgence in Mexican cinema. Reygadas has an eye for landscape as well as an ability to coax resonant understated performances from his non-professional actors.

OPENS FEBRUARY 21, CERT 15, 137 MINS

A world-weary, middle-aged man (Alejandro Ferretis) leaves the din of Mexico City and heads out into the remote countryside to prepare for his own death. That’s the starting point for young Mexican director Carlos Reygadas’ sombre, elegiac first feature. Ironically, in this arid wilderness, the man’s appetite for life returns. He becomes closer and closer to the elderly, very religious Indian widow (Magdalena Flores) with whom he takes lodgings at the mouth of a huge canyon. He tries to protect her from her unscrupulous nephew, who’s after her property. In one scene, which could easily have seemed prurient or lapsed into Harold And Maude-style comedy, he has sex with her. Reygadas handles the potentially embarrassing encounter with such delicacy and gentleness that it defies anyone to laugh.

Despite occasional lurches into existential pretentiousness, this is a highly impressive debut which underlines the recent resurgence in Mexican cinema. Reygadas has an eye for landscape as well as an ability to coax resonant understated performances from his non-professional actors.

Love Liza

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OPENED JANUARY 31, CERT 18, 90 MINS Written by Philip Seymour Hoffman's brother Gordy and directed by Todd Louiso (who you may recall as Jack Black's sidekick in High Fidelity), this is a quiet little film, serving chiefly to give the more celebrated Philip an overdue leading role. It's a morose piece, focusing on a grieving young widower, and Hoffman plays it impeccably. As Joel, a daydreaming website designer, he's driven to distraction at his wife Liza's unexplained suicide. He goes potty at work, is given time off, takes to sleeping on the floor. His mother-in-law (Kathy Bates) wants him to open the note Liza left him:he refuses. By default, he acquires a new hobby, building remote-control model airplanes. His other new hobby, sniffing petrol fumes, is less therapeutic. He won't be able to move on till he opens that note. To its credit, the film doesn't take the obvious sentimental routes offered. On the other hand, this results in a certain flatness, and Jim O'Rourke's score is subtly oppressive. Hoffman, however, is great, never angling for our sympathy. But getting it.

OPENED JANUARY 31, CERT 18, 90 MINS

Written by Philip Seymour Hoffman’s brother Gordy and directed by Todd Louiso (who you may recall as Jack Black’s sidekick in High Fidelity), this is a quiet little film, serving chiefly to give the more celebrated Philip an overdue leading role. It’s a morose piece, focusing on a grieving young widower, and Hoffman plays it impeccably.

As Joel, a daydreaming website designer, he’s driven to distraction at his wife Liza’s unexplained suicide. He goes potty at work, is given time off, takes to sleeping on the floor. His mother-in-law (Kathy Bates) wants him to open the note Liza left him:he refuses. By default, he acquires a new hobby, building remote-control model airplanes. His other new hobby, sniffing petrol fumes, is less therapeutic. He won’t be able to move on till he opens that note. To its credit, the film doesn’t take the obvious sentimental routes offered. On the other hand, this results in a certain flatness, and Jim O’Rourke’s score is subtly oppressive. Hoffman, however, is great, never angling for our sympathy. But getting it.

Culloden – The War Game

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Director Peter Watkins' mid-1960s work for the BBC still shines. Culloden recreated the famous battle as if covered by a modern news team?a radical approach for the time. More controversially, The War Game showed that nuclear war was an unwinnable nightmare, and was consequently banned by the Beeb, though it picked up an Oscar when released theatrically in 1966. It took 20 years before it got a TV airing, and remains an important historical document. DVD EXTRAS: CullodenRating Star ?behind-the-scenes footage, short film from Watkins. The War GameRating Star ?commentary, documentary about the film's ban, another Watkins short.

Director Peter Watkins’ mid-1960s work for the BBC still shines. Culloden recreated the famous battle as if covered by a modern news team?a radical approach for the time. More controversially, The War Game showed that nuclear war was an unwinnable nightmare, and was consequently banned by the Beeb, though it picked up an Oscar when released theatrically in 1966. It took 20 years before it got a TV airing, and remains an important historical document.

DVD EXTRAS: CullodenRating Star ?behind-the-scenes footage, short film from Watkins. The War GameRating Star ?commentary, documentary about the film’s ban, another Watkins short.

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Atmospheric 1967 Norman Jewison thriller, and its weaker 1970 sequel from Gordon Douglas. The first, which won Oscars for Best Picture and Rod Steiger, is dryly observed, with Steiger's bigoted Southern sheriff warming to Sidney Poitier's detective as they solve a murder?a big anti-racism statement in its time. The second takes Poitier's Tibbs character to San Francisco, for no pressing reason.

Atmospheric 1967 Norman Jewison thriller, and its weaker 1970 sequel from Gordon Douglas. The first, which won Oscars for Best Picture and Rod Steiger, is dryly observed, with Steiger’s bigoted Southern sheriff warming to Sidney Poitier’s detective as they solve a murder?a big anti-racism statement in its time. The second takes Poitier’s Tibbs character to San Francisco, for no pressing reason.

New Order—511

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Why 511? Because, on June 2, 2002, New Order performed in front of 10,000 rain-lashed revellers at Finsbury Park, and their 16-song set list comprised five Joy Division tracks and 11 by the band they became following the suicide of Ian Curtis. Their trademark gloom-transcending pop, reflected by the sunlight-through-stormclouds sleeve art is fully represented, from "Atmosphere" to "Crystal", and although the recording studio is undoubtedly their ideal milieu, even at their most sloppy, Hooky, Bernard and the man-machine that is Stephen Morris are better than the rest. (PL)

Why 511? Because, on June 2, 2002, New Order performed in front of 10,000 rain-lashed revellers at Finsbury Park, and their 16-song set list comprised five Joy Division tracks and 11 by the band they became following the suicide of Ian Curtis. Their trademark gloom-transcending pop, reflected by the sunlight-through-stormclouds sleeve art is fully represented, from “Atmosphere” to “Crystal”, and although the recording studio is undoubtedly their ideal milieu, even at their most sloppy, Hooky, Bernard and the man-machine that is Stephen Morris are better than the rest.

(PL)

Dog Days

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Set in and around a half-built rubble-strewn suburb of nowhere Vienna, pounded by summer sunstroke, and featuring brutal scenes of rape and battery, Dog Days is a bracing blast of arthouse nihilism from Austrian auteur Ulrich Seidl. And like a bleak psychotropic Short Cuts, the success of this multi-character piece depends on how the viewer responds to Seidl's remarkable yet savagely pessimistic world view.

Set in and around a half-built rubble-strewn suburb of nowhere Vienna, pounded by summer sunstroke, and featuring brutal scenes of rape and battery, Dog Days is a bracing blast of arthouse nihilism from Austrian auteur Ulrich Seidl. And like a bleak psychotropic Short Cuts, the success of this multi-character piece depends on how the viewer responds to Seidl’s remarkable yet savagely pessimistic world view.

My Wrongs #8245-8249 And 117

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Comedy terrorist Chris Morris writes and directs this extended riff on what could have been one of his more unsettling TV sketches?think Kafka remixed by Chris Cunningham. Paddy Considine, a talking dog, a demonic baby and a nerve-jangling soundtrack blur the line between black humour and abstract art. More please. DVD EXTRAS: Runner's commentary, alternative 5.1 mix, original radio monologue, dog animation, remix of the film by Cartel. Rating Star (SD)

Comedy terrorist Chris Morris writes and directs this extended riff on what could have been one of his more unsettling TV sketches?think Kafka remixed by Chris Cunningham. Paddy Considine, a talking dog, a demonic baby and a nerve-jangling soundtrack blur the line between black humour and abstract art. More please.

DVD EXTRAS: Runner’s commentary, alternative 5.1 mix, original radio monologue, dog animation, remix of the film by Cartel. Rating Star

(SD)

Pulp—Hits

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Pulp's early-'90s videos for "Babies" and "Lipgloss" perfectly capture that periods new optimism, while the promos for "Common People" and "Disco 2000" were Britpop's peak visual moments. But it's the extras on this three-hour DVD that provide evidence of Jarvis Cocker's surreal ubiquity back then: impersonations courtesy of Harry Hill, Chris Morris and Mr Blobby, appearances on This Morning With Richard & Judy and Da Ali G Show, and a take-off on Stars In Their Eyes.

Pulp’s early-’90s videos for “Babies” and “Lipgloss” perfectly capture that periods new optimism, while the promos for “Common People” and “Disco 2000” were Britpop’s peak visual moments. But it’s the extras on this three-hour DVD that provide evidence of Jarvis Cocker’s surreal ubiquity back then: impersonations courtesy of Harry Hill, Chris Morris and Mr Blobby, appearances on This Morning With Richard & Judy and Da Ali G Show, and a take-off on Stars In Their Eyes.

Big Beach Boutique II

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The first gig since Castlemorton to make front-page news, Fatboy Slim's massively over-attended 2002 beach-front hoedown was greeted as armaggedon by the Daily Mail but, as this film shows in fact consisted of a bald man in a Hawaiian shirt playing 19 records very loud. Watch 200,000 ecstatic bodies moving in unison to "Born Slippy", though, and you'll realise the Mail had a point. Goosebump-inducing. DVD EXTRAS: Interview with and full commentary by Norman Cook, choice of playing the tracks in your own order. Rating Star

The first gig since Castlemorton to make front-page news, Fatboy Slim’s massively over-attended 2002 beach-front hoedown was greeted as armaggedon by the Daily Mail but, as this film shows in fact consisted of a bald man in a Hawaiian shirt playing 19 records very loud. Watch 200,000 ecstatic bodies moving in unison to “Born Slippy”, though, and you’ll realise the Mail had a point. Goosebump-inducing.

DVD EXTRAS: Interview with and full commentary by Norman Cook, choice of playing the tracks in your own order. Rating Star

Suede—Introducing The Band

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A document of their 1994 Dog Man Star tour, this captures Suede just about surviving the notorious crisis of losing that album's principal architect, Bernard Butler. Still, Brett Anderson bumps and minces with considerable verve and new boy Richard Oakes oozes confidence nevertheless. More interesting are the accompanying tour films, dedicated to Derek Jarman and visibly influenced by said director's Smiths promos. DVD EXTRAS: Lyrics menu, rare NFT video footage, teaser for accompanying Lost in TV DVD. Rating Star

A document of their 1994 Dog Man Star tour, this captures Suede just about surviving the notorious crisis of losing that album’s principal architect, Bernard Butler. Still, Brett Anderson bumps and minces with considerable verve and new boy Richard Oakes oozes confidence nevertheless. More interesting are the accompanying tour films, dedicated to Derek Jarman and visibly influenced by said director’s Smiths promos.

DVD EXTRAS: Lyrics menu, rare NFT video footage, teaser for accompanying Lost in TV DVD. Rating Star

Nico—An Underground Experience – Heroine

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By the early-to-mid '80s, Nico was holed up in Manchester on the comeback trail junkie habit in tow. A live performance at the Library Theatre, Heroine is a funereal study of stark cool, drawing on The Velvet Underground?"All Tomorrow's Parties", "Femme Fatale"?alongside rather less celebrated fare from Camera Obscura (1985) and Drama Of Exile (1981). The inferior An Underground Experience places her in a nameless club?haunted, drawn and distant. The highlight is the painfully squirming interviewer struggling amidst bored, monosyllabic replies. DVD EXTRAS: Complete discography, individual track access. Rating Star

By the early-to-mid ’80s, Nico was holed up in Manchester on the comeback trail junkie habit in tow. A live performance at the Library Theatre, Heroine is a funereal study of stark cool, drawing on The Velvet Underground?”All Tomorrow’s Parties”, “Femme Fatale”?alongside rather less celebrated fare from Camera Obscura (1985) and Drama Of Exile (1981).

The inferior An Underground Experience places her in a nameless club?haunted, drawn and distant. The highlight is the painfully squirming interviewer struggling amidst bored, monosyllabic replies.

DVD EXTRAS: Complete discography, individual track access. Rating Star

The Prisoner 35th Anniversary Companion

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On this "Special Edition" DVD you get a wealth of biographical information and visual material, as well as a Renault 21 TV ad based on this legendary Cold War-era feast for late-'60s conspiracy theorists. The holy grail for Prisoner fanatics, however, is a rough-cut, alternative version of episode one, "Arrival", never officially available before, featuring different intro music. Scoff if you like, but remember we're talking here about probably the most iconic opening sequence in British TV history. DVD EXTRAS: Patrick McGoohan biography, stills and merchandise gallery, production notes for each episode. Rating Star

On this “Special Edition” DVD you get a wealth of biographical information and visual material, as well as a Renault 21 TV ad based on this legendary Cold War-era feast for late-’60s conspiracy theorists. The holy grail for Prisoner fanatics, however, is a rough-cut, alternative version of episode one, “Arrival”, never officially available before, featuring different intro music. Scoff if you like, but remember we’re talking here about probably the most iconic opening sequence in British TV history.

DVD EXTRAS: Patrick McGoohan biography, stills and merchandise gallery, production notes for each episode. Rating Star

Easy Does It

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US cable giant HBO once more deliver the goods with this ambitious adaptation of Stephen E Ambrose's non-fiction bestseller, presented here as a box set. Produced by Saving Private Ryan alumni Tom Hanks and Steven Spielberg, this 10-hour epic is the finest 'WWII through the eyes of one unit' drama s...

US cable giant HBO once more deliver the goods with this ambitious adaptation of Stephen E Ambrose’s non-fiction bestseller, presented here as a box set. Produced by Saving Private Ryan alumni Tom Hanks and Steven Spielberg, this 10-hour epic is the finest ‘WWII through the eyes of one unit’ drama since Sam Fuller’s The Big Red One in 1980. Following the real-life exploits of the 101st Airborne Division’s Easy Company during their casualty-laced tour of the European theatre, Band Of Brothers foregoes flag-waving heroics (

Waking Life

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Richard Linklater takes the po-faced monologues of Slacker up a level with this extraordinary, state-of-the-art, animated dream trip. The endless navel-gazing and philosophising (Are we alive? Are we imagining everything? There's not gonna be a car chase in this, is there?) are undeniably wearing, but you have to admire the only sentient Texan's ambition and nerve. DVD EXTRAS: None. (CR)

Richard Linklater takes the po-faced monologues of Slacker up a level with this extraordinary, state-of-the-art, animated dream trip. The endless navel-gazing and philosophising (Are we alive? Are we imagining everything? There’s not gonna be a car chase in this, is there?) are undeniably wearing, but you have to admire the only sentient Texan’s ambition and nerve.

DVD EXTRAS: None.

(CR)

Sleeper Hit

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It's tempting to see Pedro Almod...

It’s tempting to see Pedro Almod

Horror Roundup

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American thriller writer Peter Neal (Tony Franciosa) arrives in Rome to publicise his latest novel. Then people start dying in increasingly grisly ways?all copied from Neal's book. Dario Argento's long-banned blood-drenched whodunnit is released in uncut form for the first time... but this hasn't cured the gaping holes in the plot. For gorehounds only.

American thriller writer Peter Neal (Tony Franciosa) arrives in Rome to publicise his latest novel. Then people start dying in increasingly grisly ways?all copied from Neal’s book. Dario Argento’s long-banned blood-drenched whodunnit is released in uncut form for the first time… but this hasn’t cured the gaping holes in the plot. For gorehounds only.

Pollock

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Years of Ed Harris' life went into realising this biopic of action painter Jackson Pollock. As director, he's workmanlike, though he does catch the exhilaration of the artist at work. As star, he's superb, avoiding clich...

Years of Ed Harris’ life went into realising this biopic of action painter Jackson Pollock. As director, he’s workmanlike, though he does catch the exhilaration of the artist at work. As star, he’s superb, avoiding clich

Windtalkers

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Action emperor John Woo raises hell in the Pacific for this noisy WWII epic, which is grounded in real events. The grand-canvas battle scenes rule, but Nic Cage's hammy turn as an emotionally scarred hero charged with guarding a Navajo code-talker lets the side down. Still, the battle sequences are up there with Sam Fuller's best. DVD EXTRAS: Several backstage documentaries, commentary by a genuine Navajo code-talker, shared chat between Cage and co-star Christian Slater. Rating Star

Action emperor John Woo raises hell in the Pacific for this noisy WWII epic, which is grounded in real events. The grand-canvas battle scenes rule, but Nic Cage’s hammy turn as an emotionally scarred hero charged with guarding a Navajo code-talker lets the side down. Still, the battle sequences are up there with Sam Fuller’s best.

DVD EXTRAS: Several backstage documentaries, commentary by a genuine Navajo code-talker, shared chat between Cage and co-star Christian Slater. Rating Star

O

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Despite the presence of the hapless Josh Hartnett, Tim Blake Nelson (him from O Brother, Where Art Thou) stirs up a sprightly, sinister revamp of Othello. Mekhi Phifer's fine as the school basketball hero who blows his future when jealous Josh, in the lago role, convinces him Julia Stiles is a duplicitous Desdemona. All this and Martin Sheen trying to look non-presidential as the sports coach.

Despite the presence of the hapless Josh Hartnett, Tim Blake Nelson (him from O Brother, Where Art Thou) stirs up a sprightly, sinister revamp of Othello. Mekhi Phifer’s fine as the school basketball hero who blows his future when jealous Josh, in the lago role, convinces him Julia Stiles is a duplicitous Desdemona. All this and Martin Sheen trying to look non-presidential as the sports coach.

Married To The Mob

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Two years before GoodFellas, Jonathan Demme nailed the comical backstage soap opera element of modern-day mobsters and their brassy womenfolk in this cheery 1988 farce. Michelle Pfeiffer is the blousy Mafia wife who wants out, while Matthew Modine plays the FBI agent on her trail. It feels a little too clean and lightweight today, but the roots of The Sopranos are buried in here somewhere.

Two years before GoodFellas, Jonathan Demme nailed the comical backstage soap opera element of modern-day mobsters and their brassy womenfolk in this cheery 1988 farce. Michelle Pfeiffer is the blousy Mafia wife who wants out, while Matthew Modine plays the FBI agent on her trail. It feels a little too clean and lightweight today, but the roots of The Sopranos are buried in here somewhere.

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