Film Four & Film Four +1 26-05-08.

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Around The World In 80 Days
(2004) Frank Coraci's remake of the classic 1956 film, based on Jules Verne's classic novel, stars Steve Coogan as eccentric inventor Phileas Fogg.Jules Verne's classic tale of Victorian adventure is given an oriental spin in this adaptation. Jackie Chan is the runaway thief helping Steve Coogan's Phileas Fogg win a bet by circumnavigating the globe
Around The World In 80 Days Sharing the title, basic plot and very little else with Jules Verne's original novel, this 2004 cinematic take on Around The World In 80 Days is closer (at least in structure) to Michael Anderson's Oscar-winning 1956 film version, with episodic adventures punctuated by a variety of star cameos. Sadly, while Anderson's film featured iconic faces like Buster Keaton and Frank Sinatra, the best examples this tired action-comedy can muster are Owen and Luke Wilson, Richard Branson, and an embarrassing turn from Arnold Schwarzenegger, sporting a shocking wig, as a randy Turkish prince. Unimpressive cameos aren't quite enough to sink a movie, but the decision to turn a ripping Victorian adventure into a slapstick-heavy Jackie Chan vehicle pushes the film closer to outright disaster. Chan plays Lau Xing, a Chinese thief who retrieves a sacred jade Buddha from the Bank of England, and hides out as the valet of eccentric inventor Phileas Fogg (Coogan).
Lau Xing has to get the Buddha back to his Chinese village as soon as possible - and to do this, he manipulates Fogg into betting his reputation on travelling around the world in only 80 days. What he doesn't know is that Lord Kelvin (Broadbent), the man betting against Fogg, is also involved with the theft of the jade Buddha. Soon a motley crew of criminals and assassins are trying to retrieve it by bringing Fogg's journey to a premature halt.

The Gunfighter
(1950) Gregory Peck stars in Henry King's noir western as Jimmy Ringo, an aging gunslinger who rides into a strange town.One of the first westerns to take a look at what happens to a gunslinger when he's over the hill. Peck is Johnny Ringo, fed up with his reputation as a killer. When he arrives in a small town his only aim is quietly to rekindle a relationship with the wife and kid he deserted, but the townsfolk see him as a threat. While the young bucks want to challenge him to fights, the law-abiding burghers want him out because he's a magnet for trouble. It's almost perfectly judged by writer, director and cast, and is among the very best westerns ever made.

Big Top Pee-Wee
(1988) In the sequel to Pee-wee's Big Adventure, Pee-wee Herman finds his peace and quiet interrupted by the arrival of a circus.Tim Burton bowed out of the follow-up to his startlingly good kidflick Pee-Wee's Big Adventure, but even in this sequel Paul Reubens' tight-suited, bow-tied eccentric retains a dark edginess which stretches his appeal far beyond the under-tens. This time around, our hero becomes involved with a travelling circus which becomes caught in a storm around his home town; inviting them to stay at his farm, he is frowned upon by suspicious locals but turns the situation to his advantage by striking up a romance with one of the trapeze artists (Valeria Golino).. There are far worse sequels in the world than this.

K19: The Widowmaker
(2002) Kathryn Bigelow's tense film stars Harrison Ford and Liam Neeson as the commander of Russia's first nuclear submarine and his executive officer.
Kathryn Bigelow directs this long-haul on a Soviet sub, with vying captains Harrison Ford and Liam Neeson having to contend with a potential reactor meltdown. "Inspired by actual events"
K-19: The Widowmaker Filmmaker Kathryn Bigelow has had an undeniably interesting career. One of the few women in a male-dominated environment - that of big-buck Hollywood directing - she has made cult movies (Near Dark), action movies (Point Break), thought-provoking sci-fi (Strange Days) and even sort of art house (the duff The Weight Of Water). With the cumbersomely titled K-19: The Widowmaker she turns her attention to the submarine movie. 'The Widowmaker' is what the submariners aboard the Soviet navy's brand new - nay unfinished - flagship dub their boat, K-19. "Ten dead and we haven't even left dock," declares its captain, Polenin (Neeson), who is being rushed by the brass to get the boat to sea in 1961. As part of their efforts to, dangerously, hurry things along, the brass relieve Polenin of his command, making him executive officer to a Captain Vostrikov (Ford). Vostrikov is a hard ass and determined to get K-19 ("the finest submarine in the world") into active duty.

Sleeping with the Enemy
(1991) Julia Roberts stars as a woman who fakes her own death to escape an abusive husband, fleeing to a small Iowa town to begin a new life.Julia Roberts is married to a wife-beating, sadistic husband, from whom she escapes.
Sleeping with the Enemy After fleeing her abusive husband, Roberts thinks she's found safety in Iowa and a new love when she's romanced by drama teacher Anderson, but wild-eyed psycho Bergin has chewed furniture across the country in pursuit of her. Violent finale ensues. Whenever he's at a loss for what to do, director Ruben seems to hope that if he puts the camera on Roberts we'll forget the inadequacies of the script, but even her toothy grin can't compensate for an increasingly silly and tiresome story.

The Dreamers
(2003) Bernardo Bertolucci's mesmerising film concerns a naive American who befriends a sexually charged brother and sister.Set in Paris during the student uprisings of May 1968, Bernardo Bertolucci's mesmerising film concerns a naive American who befriends a sexually charged brother and sister and moves in with them for a month while their parents are away
The Dreamers After misfiring with films like the pompous Little Buddha, the languorous Stealing Beauty and the ill-advised Besieged, Bernardo Bertolucci is back on form with this cine-literate virtual three-hander adapted by esteemed critic and novelist Gilbert Adair from his 1988 work 'The Holy Innocents: A Romance'. The film begins as Matthew (Pitt, Bully) arrives in Paris. A film fan from an early age, he heads straight to the Cinémathèque Française, "where modern cinema was born", as he puts it. The cinema is "inside a palace" where the reputations of the Nouvelle Vague filmmakers were incubated, and it is here that he meets fellow enthusiasts Isabelle (Green) and Theo (Garrel), who are brother and sister. Invited back to the home of their parents (Renucci, Chancellor) for supper, Matthew stays the night, only to inadvertently spy the siblings sleeping in the same bed. The next day, with the parents off to Trouville for a month, he is given the opportunity to leave his shabby hotel and relocate to their home. Witnessing first-hand how uncomfortably close Isabelle and Theo are, he notes: "You two - you're like two halves of the same person."

Matthew remains ensconced in the house for virtually the remainder of the film. Movie trivia, fine wine and sexual forfeit games dominate the trio's time together. By the finale, as the riots begin to grip Paris, the political and personal become inextricably linked. Mirroring the social instability of the time, Matthew sums it up: "It felt as if we were drifting out to sea."

(1968) Lindsay Anderson's coruscating classic critique of British society, set in a private school where rebellious pupils take revenge.A surreal take on the darker side of British public school life, which involves a band of self-styled 'Crusaders' rebelling against the brutality of their institution. Launched Malcolm McDowell to stardom
Directed by Lindsay Anderson, a prime mover of British New Wave Cinema, from a scalding script by ex-public schoolboy David Sherwin, If.... proves to be something of a universal fantasy. An anarchic trio of disgruntled public schoolboys (McDowell, Wood and Warwick) - plus one girlfriend (Noonan) and a younger pupil (Webster) - rebel against their brutal establishment peers, before literally blasting their way through staff and sixth formers. Here, the school (actually Cheltenham College), with its chapel and firing range, serves as a metaphor for an archaic, conservative Britain. Fittingly (although the director always denied this was deliberate) the film does appear to echo political uprisings taking place the year it was made, in Paris, Prague, and the US.

Sporting less of a plot than a series of crazily inventive, titled vignettes (comparable to those from Jean Vigo's 1933 film Zero De Conduite, which partly inspired the filmmakers), If.... blends English surrealism with a near-documentary style realism to astonishing effect.