Film Four & Film Four +1 27-06-08.

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The Talk of the Town
(1942) Cary Grant stars as Leopold Dilg, a factory worker and political activist wrongly accused of burning a factory down.Effective, if peculiar, mixture of screwball comedy and political moralising, in which union man Leopold Dilg (Grant) is jailed for an arson attack on a woollen mill, escapes and seeks refuge with the local schoolteacher, Nora Shelley (Arthur). But Nora has a lodger, a stuffy law professor named Lightcap (Colman), who's less willing to aid and abet a criminal. And so the debates begin. 'What is the law?' asks Grant. 'It's a gun pointed at somebody's head. All depends on which end of the gun you stand, whether the law is just or not.' And then they're back to screwball bickering.

Monkey Business
(1952) Director Howard Hawks and Cary Grant reunited for this screwball comedy.Some 12 years after Grant and Hawks worked together on Bringing Up The Baby, they returned to screwball comedy, with Grant playing a bespectacled, absent-minded professor again. Here he discovers a rejuvenation serum that causes him, his wife Rogers and his boss Coburn to recede to adolescence and then childhood. Th rather strained, juvenile high jinks do have their funny lines and situations, plus Monroe as an incompetent stenographer.

The Thirty-Nine Steps
(1959) Kenneth More stars in this, the second film adaptation of John Buchan's ripping espionage yarn.This second screen version of Buchan's classic spy adventure isn't a patch on Hitchcock's suspenseful 1935 classic. After being accused of murdering a female spy, Hannay (More) goes on the run in the Scottish highlands in the vain hope of tracking down the real villains, but, with the police closing in, time is definitely not on his side. In what is essentially a scene-by-scene remake, director Thomas keeps the action moving at a steady pace, making good use of some stunning location shots of Scotland and an exciting aerial manhunt.

Secondhand Lions
(2003) Haley Joel Osment is a quiet, studious lad who finds himself left with eccentric grand-uncles Robert Duvall and Michael Caine.A boy, two old-timers, a lion and a pig. Not the first line of a tortuous joke, but the recipe for a yarn from writer-director Tim McCanlies. Michael Caine, Robert Duvall and Haley Joel Osment star
Secondhand Lions He saw dead people in The Sixth Sense. He played a robot in A.I.. But one suspects Haley Joel Osment's greatest challenge lies ahead of him: how to make the leap from child acting prodigy to juvenile leading man. For now, he's content to tread water as a nervous 15-year-old boy in 60s Texas, forced to spend the summer with his two crotchety grand-uncles on their rundown ranch. But as Haley grows older, and taller, his days of playing sensitive, nervous adolescents are surely numberedOn the contrary, there seems to be no end to the stream of elderly eccentrics that Robert Duvall and Michael Caine can bring to the screen. Watching these cinema veterans is the best reason to see Tim McCanlies' gentle fable, a couple of feisty geriatrics trying to recreate the glory days of their youth. Whether firing shotguns at travelling salesmen, fighting unruly teenagers in the local store or infuriating the highway patrol in their homemade biplane, this ornery duo pumps the picture with premium grade Pensioner Power.

Pushing Tin
(1999) Mike Newell's film is set in the intense, brutal world of air traffic control, where John Cusack is the top dog.A top air traffic controller feels threatened when a new recruit with an equally impressive reputation joins his team. Comedy-drama starring John Cusack, Billy Bob Thornton, Angelina Jolie and Cate Blanchett
Pushing Tin Pushing Tin has a lot in common with Tony Scott's Top Gun, being both inspired by magazine articles and centred around two kings of aviation struggling for supremacy. The only difference is that, while Bruckheimer's and Simpson's action movie focuses on the US Navy's best pilots, Mike Newell's comedy-drama is concerned with the men who bring commercial aircraft in to land. This might not sound as exciting, but it's infinitely more amusing and every bit as entertaining. John Cusack is Nick "The Zone" Falzone, New York TRACON's top air traffic controller. It might not sound like much of a title, but it's one that defines Nick's relationship with his co-workers and his wife, Connie (Blanchett). The TRACON crew's tight little community is shaken up by the arrival of Russell Bell (Thornton), a Southern controller whose reputation for recklessness is matched only by his faultless flight record. With a worthy adversary at hand, Nick takes the battle to Bell and even leaps into bed with his rival's wife, Mary (Jolie). But as this epic war of egos slowly escalates, it looks set to claim both Nick's sanity and his marriage.

(2003) After an unexplained 15 year incarceration, a man seeks those responsible for his abduction and his wife's murder.
After an unexplained 15 year incarceration, a man seeks those responsible for his abduction and his wife's murder. Award-winning revenge thriller from South Korea's Chan-Wook Park
With 2002's Sympathy For Mr. Vengeance Chan-Wook Park consolidated a somewhat cultish reputation in the West. An Asian filmmaker, he slotted into the critical spectrum somewhere between Wong Kar-Wai and Miike Takeshi - his distinctive films featuring something of the former's romanticism and the latter's madcap, often violent, inventiveness. More specifically, Park is at the forefront of a new energy in South Korean filmmaking, along with Ki-Duk Kim (Bad Guy), Joon-Ho Bong (Memories Of Murder) and Ji-Woon Kim (A Tale Of Two Sisters), among others. A remarkable film, Oldboy concerns Dae-Su Oh (Choi), introduced as a boorish salaryman before he's abducted and imprisoned in a cell decorated like a 1970s bedroom. He's there for 15 years, slowly going mad, possibly, but also educating himself from the TV, training up his body and focussing on just what deed in his life could have put him in such circumstances; he sees on TV that his wife has been murdered and that he is the main suspect. "I thought I had an average life. But I've sinned too much," he says, in the years of introspection. The 15-year ellipsis isn't entirely convincing, but Park concludes the incarceration sequence with a split screen (just one of many devices he uses confidently), Oh on the left, world history on the right - Diana dying, 9/11, Korea in the World Cup semis.
Suddenly, Oh is out in the world - a "larger prison". His fighting skills are impressive, as is his knowledge for trivia, but his social skills are rudimentary. It doesn't seem to matter to sushi chef Mi-Do (Kang), and the pair become an awkward item, the much younger woman intrigued and moved by his story. Together they set about trying to solve the riddle of Oh's damaged life, aided by his old friend Joo-Hwan (Ji) and even by cryptic phone calls from the man behind it all. "Why? Why did you imprison me? Who did you think I am?" asks Oh not unreasonably. "I'm a sort of scholar. And my thesis is you," replies the perpetrator, Woo-Jin Lee (Yu), a rich man with a mysterious, manipulative agenda. But why?

(1989) Young soldier Kevin Deakin, pronounced dead during the Falklands War, is given full military funeral honours.
A soldier thought to have died during the Falklands conflict turns up very much alive. Military drama starring David Thewlis, Tom Bell and Rita Tushingham, and directed by Paul Greengrass
Controversy and critical acclaim have been Paul Greengrass's constant companions. From the angry media reaction to Bloody Sunday in 2002 to concerns over the sensitivity of United 93 in 2006, the director of The Bourne Supremacy and The Bourne Ultimatum has rarely been out of the headlines. Not that awards organisations have been put off by the Surrey-born filmmaker's willingness to tackle hot topics - the proud owner of three BAFTAs, he was also Oscar-nominated for United 93. This strange combination of awards and outrage dates back to Greengrass's first film, Resurrected. Made just seven short years after the Falklands were recaptured, it stars a pre-Naked David Thewlis as Kevin Deakin, a British soldier thought to have perished during the South Atlantic conflict. With his family in the earlier stages of the grieving process, Kevin reappears and promptly becomes the darling of the pro-war press. Rather than going along with his new role as a military mascot, Deakin feels compelled to tell the truth about his activities in the Falklands and the events surrounding his disappearance and 'resurrection'.