Film Four & Film Four +1 18-07-08.

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Film Four +1 SID8330 VPID2332 APID2333 Eng


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.

(1947) Classic noir thriller. Dana Andrews is a New England State Attorney who determines to prove vagrant Arthur Kennedy innocent of murder.When a Bridgeport priest is found murdered, suspicion quickly falls on down-and-out Kennedy. As he is the only suspect, it seems likely that he will have to pay for the crime, guilty or not, as the locals need a culprit to lay their fears to rest. Step in Andrews, the State Attorney, who is determined that justice will be done no matter what public opinion dictates. Based on an actual case and shot in impressive semi-documentary style by Kazan, Boomerang raises a complex issue without falling for the temptation to offer easy solutions. The performances, especially by Andrews, are spot on.

North to Alaska
(1960) Henry Hathaway's rumbustious western set in the frozen north stars John Wayne and Stewart Granger as gold miners who strike it rich in Alaska.Hathaway's films often seem to lie in the shadow of the greater John Ford, and this enjoyable, macho comedy drama yarn is no exception. Set at the turn of the century, the film follows two prospectors, Wayne and Granger, battling each other, trying to control the excesses of Granger's kid brother Fabian, outsmarting con man Kovacs and avoiding the clutches of gold-digger Capucine. Ford would have added a little more humanity and pathos, and the performances would have been less broad. The two male leads are oddly coupled and Fabian, in his third film, cannot shake off his 1960s pop singer image.

The Nutty Professor
(1996) Eddie Murphy stars as Professor Sherman, 450lb of scientist who takes a potion that he's only tested on hamsters...Eddie Murphy gains weight, loses weight and plays an entire family in this slapstick-heavy comedy from Tom Shadyac
none The only quality in Jerry Lewis (the original nutty Professor) that Eddie Murphy can match is the size of his ego. And since this story is a two-man show, both sides of the same person Jekyll and Hyde style, it presents the perfect remake. For good measure Murphy adds five other family members to his central figure of the grotesquely overweight Professor Klump who, beguiled by an attractive assistant, decides on experimentation rather than dieting and becomes the slim but less likeable character, Buddy Love.
Great for those who can't get enough of Murphy but a contender for Room 101 for the rest.

In Her Shoes
(2005) Cameron Diaz and Toni Collette star as the Feller sisters who come to blows over everything life throws at them.Cameron Diaz and Toni Collette star as the Feller sisters who come to blows over everything life throws at them. From Oscar-nominated director Curtis Hanson
From 1950s Hollywood sleaze (LA Confidential) to the trials of a doped-up Pittsburgh professor (Wonder Boys) and the rise of a Detroit rapper (8 Mile), Curtis Hanson is fast becoming the Billy Wilder of his generation. Able to work within any genre, Hanson is also remarkably consistent at delivering superior work within those confines. Thus, it's no surprise to see him tackle In Her Shoes and turn what in the hands of others might be a run-of-the-mill 'chick flick' into a moving, familiar story of sibling reconciliation. Jennifer Weiner's novel is adapted for the screen by Susannah Grant, who wrote the screenplay for Steven Soderbergh's Erin Brockovich, another classic contemporary story of female empowerment directed by a man. At the heart of the story is a credible portrayal of two sisters. Desperately close, as their mother died when they were young, they still fight furiously.
The film begins by detailing the differences between the Feller sisters, Maggie (Diaz) and Rose (Collette). While unemployed good-time girl Maggie attends a high school reunion, gets drunk and winds up in a toilet cubicle with a former classmate, big-shot Philadelphia lawyer Rose sleeps with her boss and fantasies about their potential union.
When her stepmother (Azzara) kicks Maggie out, she heads for Rose's to crash on the sofa. While her sister encourages her to find work, she prefers to loaf around the house, rooting through Rose's extensive collection of shoes and scoffing ice cream. A girl with no feeling for anyone but herself, she even takes a shine to Rose's boss and winds up bedding him - an act which further divides the sisters. Maggie heads to Florida to visit their grandmother, Ella (MacLaine), who she thought was long dead; meanwhile, the overweight Rose decides to get her life in order too.

(1982) Following their failure to get the satisfaction they require from it, six high school guys fight a battle with the local bawdy house.The godfather of a hundred teen and gross-out movies. Not exactly pleasant or consistently funny, but a success in its own rights (and a box office smash to boot)
Porky's This dumb (but commercially successful movie) has a lot to answer for, not only because of the subsequent Porky's, but the drive-in teenage comedies that have proliferated in the ensuing years. Here there are six Florida lemons, all teenage boys and all virgins. They're locked into Angel Beach High School and a level of comic frustration made worse by the unsympathetic adults who control them, and the girls who tease them.
Clark, who made the terrifying Black Christmas, has enough skill and energy to deliver a few laughs along the way for those who find such travails amusing, but it would take a true sadist to find it genuinely comic.

One Hour Photo
(2002) A lonely photo clerk fixates on the seemingly happy life of a suburban family. Tense and stylish psychological drama with Robin Williams on top form.A lonely photo clerk fixates on the seemingly happy life of a suburban family. Tense and stylish psychological drama with Robin Williams on top form
One Hour Photo Robin Williams has done unintentionally skin-crawling movies in his time (the unholy trinity of Jack, Patch Adams and Bicentennial Man leap screaming to mind), but this is his first deliberate foray into psycho thriller territory. It's a clever move. Williams plays Sy Parrish, the chief clerk at the photo-development counter of a large supermarket. This anonymous man has no personal life, so lives vicariously through the snapshots of his customers. Especially the apparently perfect Yorkin family: mum Nina (Nielsen), dad Will (Vartan) and little son Jake (Smith). But what will happen when Sy discovers that the Yorkin's home life isn't as idyllic as he thinks?
Mark Romanek has created a film painful in its bleak, penetrating clarity. Using beautifully framed images (the sterile whiteness of the supermarket, the amber warmth of the Yorkin house, the chilly emptiness of Sy's apartment) to peel back the layers of Sy's life, he reveals a man driven to madness by simple loneliness.
Unlike conventional psycho-thrillers from Basic Instinct to the likes of lazy efforts like The Watcher and Swimfan, One Hour Photo doesn't try to slather a cheap sexual motive or some twisted revenge ethos onto Sy's actions. This man is forced to extremes not because he wishes to be better than everybody else, but because he wants to be the same as them.
Don't assume, though, that Romanek's empathy with his lead character makes the film in any way soft. With more than its fair share of heart-pummelling edge-of-seat moments, most in a nerve-twanging final 30 minutes, this is a highly accomplished thriller.
In front of the camera, Nielsen and Vartan pitch their performances expertly as the superficially happy couple, while Gary Cole and Eric La Salle (of 'ER' fame) turn in rounded, intelligent turns as, respectively, Sy's corporate-minded boss and a soft-spoken police detective. But there's no getting around the fact that it's Williams' film.
Grey of hair and pudgy of midrift, Williams doesn't so much play Sy as become him. On screen for three-quarters of the film, he marries the character's surface creepiness to a sweet, vulnerable core, before stealthily drip-feeding violence and menace into him. The end result is a screen psycho you fear for as much as you fear. It's a fantastic performance.