On assignment in the Northern Territory, American travel writer Pete (Michael Vartan) joins a uninspired conglomeration of tourists on a typical river cruise in qualifyingly mollify crocodile fatherland, operated by tour guide Kate (Radha Mitchell). During a poor depreciate, their sailing-yacht is approximately overturned by a violent jolt from underwater, and they have in mind the leaking speedboat aground on a small island, but out of boom box contact with low. They soon profit they have stumbled into the territory of a huge, possessive salt pass water croc, who sets about viciously collecting a get of food to store in his cavernous lair, while the survivors search desperately for a forward movement off the island – in the vanguard high tide and the eventide close in.

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It may still be Christmas for the troubled Vuillard faction in the northwest French municipality of Roubaix but it’s not shared seasonal goodwill that’s bringing this extended children back together in the family accommodations. The instigator is mommy and grandmother Junon (Catherine Deneuve), who’s treating family ties as a responsibility arrangement and calling in a genetic favour: this distant matriarch has the selfsame disease that years ago killed her first son by her older, softer husband Abel (Jean-Paul Roussillon) and now she wants one-liner of her three adult kids, Elizabeth (Anne Consigny), Henri (Mathieu Amalric) or Ivan (Melvil Poupaud) to bequeath blood marrow to increase her chances of survival.

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In spite of Desplechin, whose option is recompense sprawling, talky ensemble pieces (‘Kings and Queen’, ‘Ma Vie Sexuelle’), Junon’s crisis is little more than an excuse to inspect incessant family rifts, secret desires, last traumas and emotional diversions. The effect flits between the wearying (not helped by the direction quickly and a distancing early section) and the engrossing as some storylines and characters work far more than others. It’s Amalric who entertains the most with the bizarre Henri, the drunken, wayward son whom his mum outright dislikes and whose financial disasters have estranged him from his more vertical-backed sister Elizabeth.

In Henri’s tow is a experimental, amused, unflappable girlfriend, Nora, played warmly by Emmanuelle Devos. Abroad, though, it’s hard to buy Ivan’s reaction when his wife spends a night with his cousin – rightful one of too numerous character or story moments that jar. You could, of course, forgive the in the main enterprise as the extravagances of an intellectual fairytale, but the film’s wayward eccentricities outbalance its righteous performances and breezy significant of a muddle of a plot.

The Bedroom Window is a 1987 thriller written and directed by Curtis Hanson based on Anne Holden’s novel The Witnesses. Steve Guttenberg stars as Terry Lambert, an architect who becomes involved with his boss’s wife Sylvia (Isabelle Huppert.) During their first night together, Sylvia witnesses an attempted abduction in the street downstairs Lambert’s apartment but is unwilling to go to the police. When the abduction attempt is linked to another spoil, Lambert attempts to do the right thing by “fronting” Sylvia’s spectator account to steal hooker the killer. Not able to identify the culprit in a lineup, he begins his own exploration aided by the young woman (Elizabeth McGovern) whose attempted abduction Sylvia witnessed. Further murders follow as Lambert himself becomes a prime think it likely.

The Bedroom Window is meant to be a crime drama in the Hitchcockian mold&#8212it approximates some of the master’s qualities but not in the least achieves the same levels of force or dramaturgy. Hanson’s direction is visually stylish, using a near-monochrome palette with spots of bright color in his skillfully backlit nighttime scenes, and he achieves a sharp, legible neo-film noir look using modern color film assortment, no method achievement. The polytechnic production is upright, with open set designs that contrast nicely with the film’s often-claustrophobic, paranoid mute, and the cast’s performances are uniformly good.

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But the arrange has problems&#8212Lambert seems hopelessly naïve (or stupid) and makes unpleasant decisions from one end to the other, Sylvia’s personality changes to suit the needs of the area, and the complete biography seems contrived, largely driven by coincidence and chance. It’s hard to allow in seventh heaven-go-lucky Steve Guttenberg as a man who would lead astray another man’s helpmate, let alone a possible killer, and the real killer (Brad Greenquist) never develops into a sincerely spine-chilling presence&#8212he’s a hurriedly drawn “bogeyman” whose early and regular correspond with with the protagonists robs him of whatever screen power he might have had. The film is also in have need of of some tightening&#8212it takes several side trips that accord little immature information, and the pacing doesn’t pick up until the last twenty minutes. There are a few moments of real play in this end sequence, and the naturalistic manuscript doesn’t succumb completely to its by-the-numbers plot, but the “shocking twists” are anything but and the conclusion seems a big on the dot coming. The Bedroom Window is interesting as a below to director Hanson’s L.A. Classified, and it’s sick than the innumerable Andrew Stevens/Shannon Tweed entries in the same genre, but the whole beeswax is on the blunted side.

Anno V -
Numero 6 – Novembre 1999

I film
del mese


ASTERIX E
OBELIX CONTRO CESARE

(ASTERIX ET OBELIX CONTRE CESAR)


CAST
TECNICO ARTISTICO

Sceneggiatura e Regia
: Claude Zidi
Fotografia
: Tony Pierce-Roberts
Scenografia
: Jean Rabasse
Costumi
: Sylvie Gautrelet
Musica
: Jean-Jacques Goldman, Roland Romanelli
Montaggio
: Nicole Saunier e Hervè De Luze
Prodotto da
: Claude Berry

(Francia, 1999)
Durata
: 110'
Distribuzione cinematografica
: Cecchi Gori Congregation

PERSONAGGI E INTERPRETI

Asterix: Christian Clavier

Obelix: Gerard Depardieu

Detritus: Roberto Benigni

Caesar: Gottfried John

Falbalà: Laetitia Casta

Panoramix: Claude Pieplu

Caius Gratuity: Jean Pierre Castaldi

La storia di Asterix e Obelix è la storia con la esse maiuscola.
Quella del "De bello gallico", dei libri di scuola, dei fumetti, della nostra
infanzia. Quella che
René Goscinny
e
Albert
Uderzo
hanno saputo far rivivere fin dai primi anni Sessanta con un linguaggio
chiaro, immediato ed intelligente, fondendo perfettamente la latinità dell'period precedente
la nascita di Cristo con il linguaggio da strada, di una Roma "trasteverina" e
ridanciana, pasticciona ed ambiziosa. Una storia che ha generato milioni di pubblicazioni,
lungometraggi animati, la costruzione di un intero parco dei divertimenti. Ancora Galli
contro Romani dunque, eserciti di damerini bardati di drappi e corazze contro un pugno di
irriducibili abitanti di un villaggio imprecisato della Bretagna. Questa è la grande
avventura del coraggioso Asterix, aiutato nella sua strenua lotta contro Giulio Cesare dal
fedele compagno Obelix, dal vecchio Druido che ha inventato una pozione magica in grado di
donare ai Galli una forza invincibile, dalla bella Falpalà, da bizzarri ed anomali
personaggi. E poi scrigni colmi di monete d'oro, validate titaniche da superare per gli
indomiti protagonisti, banchetti pantagruelici innaffiati da ettolitri di vino, una
superpozione magica con strani effetti di clonazione…

Tutto all'insegna della
monumentalità e dell'eccesso.

Del resto, i dati parlano chiaro: quasi
duemila comparse, elmi, armature e scudi da coprire interi eserciti, chilometri di prato
artificiale, un'enorme quantità di animali per il villaggio e per l'arena romana, effetti
speciali sorprendenti e di grande impatto visivo. Tutti i personaggi rappresentati nei
più minuti dettagli, tanto esteticamente che nelle sfumature caratteriali: Obelix è
praticamente perfetto, imprigionato in un paradosso che alla sua onnipotenza fisica
contrappone un'assoluta innocenza. E quasi perfetto è Asterix (già noto per

I
visitatori

) con la sua astuzia da Topolino della situazione, e il perfido
Detritus-Benigni che mantiene campanilisticamente il suo accento toscano. Ma la perfezione
non sempre genera divertimento. E qui si ride poco.
Acquista i libri, i video e le colonne sonore
dei film di cui abbiamo parlato su

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A treble class modern weepie. While Hoffman and Streep penetrate to terms with divorce and battle as surplus who gets the brat, Benton forsakes the individual and original delights of his earlier films (Disappointing Company, The Late Show) and turns in a decidedly solid and excellent domestic melodrama, helped no end by some to a great extent fine naturalistic performances. As testy and as unremarkable as your average Truffaut layer, and as ambivalent in its procreative politics.