Film Four & Film Four +1 15-07-08.

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Film Four +1 SID8330 VPID2332 APID2333 Eng

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Johnny O'Clock
(1946) Dick Powell stars as Johnny O'Clock, a high-class gambler with a shaky casino partnership.Writer Robert Rossen's impressive directorial debut, a gripping and powerful film noir starring Dick Powell as a partner, with Thomas Gomez, of a New York gambling joint who ends up being suspected by Inspector Lee J Cobb of murdering crooked cop Jim Bannon and casino cloakroom girl Nina Foch.

Appointment in London
(1953) Dirk Bogarde stars as a RAF wing commander Tim Mason, under considerable strain after nearly ninety missions over Germany.Dirk Bogarde stars as a RAF wing commander who is understandably under considerable strain after 90 sorties over Germany. He finds relaxation in his friendship with Dinah Sheridan, a war widow, whose affections he wins from American liaison officer William Sylvester. Director Philip Leacock brought depth and unobtrusive comment to a subject which, even in 1952, could easily have become hackneyed in lesser hands.

Carrington VC
(1954) Anthony Asquith's vivid and subtle courtroom drama casts David Niven as the eponymous officer charged with misappropriating army funds.Niven shines in his role as an army major caught red-handed when, encouraged by his wife, he relieves his employer of some hard cash that he feels is owed to him. Visually unimpressive, but directed with iron control by Asquith, the courtroom shenanigans nevertheless work well. Niven's humane performance makes one genuinely interested in his fate, and the complex psychological dimensions of the characters make it all the more believable.

The First Wives Club
(1996) When a husband decides that he would prefer someone younger to keep him entertained, his wife commits suicide.Reunited in middle age, three old college friends decide to get some justice against the husbands who have dumped them. Comedy starring Bette Midler, Diane Keaton and Goldie Hawn
First Wives Club In 1969, four friends "bound together now and together by friendship and love... and jewellery" graduate from college with high hopes for the future. Cut to that future, in the mid-1990s, and one of them, Cynthia (Channing) commits suicide after her husband leaves her. At her funeral, the three remaining friends from that original student foursome are reunited. Brenda Cushman (Midler) is the mother of a teenage son, Elise Elliot (Hawn) is an actress addicted to plastic surgery as a means of keeping her in the game and Annie Paradis (Keaton), the character who provides the narration, is a put-upon housewife whose daughter Chris (Dundas) has just come out. Although they seem to have little in common, it turns out they've all been dumped by their men. In Annie's case, her separated husband Aaron (Collins) compounds the woe by getting together with her therapist Leslie (Harden). In Brenda's case, her ex Morty (Hedaya), has taken up with crass social climber Shelly (Parker), while Elise's film producer ex Bill (Garber) is bedding a vapid starlet, Phoebe (Berkley). The insult to Elise is rounded off by the fact that she's offered the movie role of the "grotesque" mother to a character to be played by Phoebe.
"What has happened to us is unacceptable," says Annie when they form the titular club. "We're not talking about revenge, we're talking about justice. I'm going to give that Aaron so much justice he can't even see straight." The quest for justice involves rallying the troops and making plans. They start by visiting Chris's gay bar to recruit her to spy on daddy. At the bar, Brenda has a chat with a weeping woman who says "It's my lover. She left me after 18 years with some teenager who weighs 18 pounds." It's a scene that helps the film escape any possible accusation of misandry. Indeed, the film is arguably more purely misanthropic as none of the characters is especially likeable. Brenda is a loudmouth, Elise is vain and Annie is somewhat pathetic. They're a long way from feminist role models.

The Day After Tomorrow
(2004) Mankind faces a new ice age in this special effects extravaganza from Independence Day director Roland Emmerich.Mankind faces a new ice age in this special effects extravaganza from Independence Day director Roland Emmerich. Dennis Quaid and Jake Gyllenhaal star
The Day After Tomorrow Are stupendous special effects and a solid scenario enough to carry a film, when the narrative and dialogue are weak? In the case of Roland Emmerich's The Day After Tomorrow, the answer is yes. But only just. Stories based on the end of civilisation have long been popular. Flood, fire, plague, alien invasion, meteors, comets, sentient machines, even Satan - humanity has been battered by them all for decades thanks to the imaginations of authors and filmmakers.
Director Roland Emmerich is no stranger to mass destruction. His biggest hit (with his then production partner Dean Devlin), 1996's Independence Day had nasty aliens knackering the planet until heroic Americans saw them off. He followed that mayhem with some more focused property damage in 1998's Godzilla. With The Day After Tomorrow he is once again wreaking destruction on a global scale. Unfortunately, his attempt to portray a worldwide crisis results in a piecemeal story, its narrative drive interrupted by over-ambitious plotting.

Taxi Driver
(1976) Martin Scorsese's landmark film. Robert De Niro stars as cab driver Travis Bickell, slowly slipping into insanity.Stone-cold classic. Robert De Niro is electrifying as the Vietnam-scarred taxi driver with a frightening take on the justice system
Paul Schrader was in a pretty bad way when he wrote the screenplay for Taxi Driver. Reduced to living out of his car, the once hot scribe's poor financial situation was matched by a level of mental decay that reduced him to sucking on a loaded revolver in order to get to sleep. In the midst of this depression, Schrader pumped out the Taxi Driver script, a piece of writing peppered with references to his passion for firearms and his unhealthy interest in pornography. With the screenplay done, Schrader left LA for his family home in Michigan in the hope of gaining both perspective and peace of mind. While no one would wish misfortune such as Schrader suffered upon anyone, these dire straits are at least partially responsible for the Taxi Driver script remaining unmatched in either the writer's cannon or in the sub-genre of the vigilante movie. Over the years, there have been so many pictures made about edgy outsiders that God's lonely men don't seem so lonely anymore. Add the grit of Schrader's bitter experience to the burgeoning talent of Martin Scorsese and the amazing power and otherness of Robert De Niro and you're some way towards understanding why, 30 years on from its original release, critics and audiences continue to hail Taxi Driver.
New York City in the mid-1970s is a far from bucolic burgh. As whoring and street crime have reached epidemic proportions, so the once proud avenues have become clagged with the detritus of daily life. Through this foul landscape cruises Travis Bickle (De Niro), an insomnia-wracked 'Nam vet completely estranged from modern society. Although his attraction to political activist Betsy (Shepherd) hints at a normal life, Bickle's disdain for the city and its spawn overwhelms him. Come the final reel, normalcy feels like a long forgotten land as Travis becomes obsessed with political assassination and rescuing child prostitute Iris (Foster) from her vicious pimp Sport (Keitel).

(2001) Michael Cuesta's film is an unsettling drama about the relationship between a middle-aged man and a 15-year-old boy.Unsettling drama about the relationship between a middle-aged man and a 15-year-old boy. Impressive performances ensure a tough subject is given a surprising, complex and sophisticated treatment
L.I.E. Set in a leafy suburban town just off exit 51 of the Long Island Expressway (the acronym of the title), L.I.E. focuses on 15-year-old Howie Blitzer (Dano) a troubled teen whose mother has recently been killed in a car accident. While his father (Altman) copes with the loss by shacking up with the local bimbo, Howie runs with an impoverished kid called Gary (Kay) who turns tricks on the expressway and burgles houses to fund his planned escape to California. There's a needy bond between these two and an erotic undercurrent that hints at Howie coming to terms with his own sexuality. But the chance for this relationship to develop is cut short when they're caught breaking into the house of Big John Harrigan (Cox), a former Marine and well-respected member of the community. It's here that Cuesta's film heads into darker territory. Big John is also a pederast but Cox plays him with a mixture of smooth-talking malevolent charm and genuine sympathy. Thus, while we are never allowed to forget he is a sinister, predatory figure, we also see a man battling his inner demons as he forges an unlikely friendship with the boy. This happens after Howie's father is put in prison for a shady business deal. Alone, Howie reaches out to Big John who responds to the boy's emotional needs and surprisingly cultivated persona with an avuncular concern that tempers his immediate sexual longing.