Mark and Reese get closer on a roller coaster. It can only be the Nineties. Fear (1996).
Mark and Reese get closer on a roller coaster. It can only be the Nineties. Fear (1996).
The title says it all. The Last Seduction (1994) starring the great Linda Fiorentino. I don’t buy anything sight unseen
Steamy is the word. Body Heat (1981). What a throwback.
Yup, we’re going there. Nine and a Half Weeks (1986). And why not, for goodness’ sake?! Enjoy.
It’s Friday. You’re going nuts. Things are getting steamy. Nothing for it but … sex with Debra and Richard in An Officer and a Gentleman (1982). You’re welcome.
Whose funeral is this?/Yours. James Bond (Roger Moore) is sent to New York to investigate the mysterious deaths of three British agents. The Harlem drug lord known as Mr. Big plans to distribute two tons of heroin for free to put rival drug barons out of business and then become a monopoly supplier is also in New York, visiting the United Nations. Just after Bond arrives, his driver is shot dead by Whisper (Earl Jolly Brown) one of Mr. Big’s men, while taking Bond to meet Felix Leiter (David Hedison) of the CIA. Bond is nearly killed in the ensuing car crash. Mr. Big is revealed to be the alter ego of Dr. Kananga (Yaphet Kotto) a corrupt Caribbean dictator, who rules San Monique, a fictional island where opium poppies are secretly farmed. Bond encounters voodoo master Baron Samedi (Geoffrey Holder) and tarot card reader Solitaire (Jane Seymour) who soon becomes a romantic interest. Bond’s fight to put a stop to the drug baron’s scheme takes him to New Orleans … What are you? Some kinda doomsday machine boy? Well WE got a cage strong enough to hold an animal like you here! A jazz funeral in New Orleans. Voodoo. Tarot cards. A crocodile farm. A shark tank. An underground cave. An awesome car and boat chase across the bayou. A cast of black villains worthy of a blaxploitation classic. A villain who is less megalomaniacal than usual who would really like to be James Bond’s friend. A redneck sheriff (Clifton James) to beat all redneck sheriffs, as director Guy Hamilton bragged. A morning ritual cappuccino preparation instead of a martini, a little nod to Harry Palmer, perhaps. And this was Roger Moore’s debutante appearance as the suavest double Oh! of them all, entering the picture in the arms of a beautiful brunette spy in dereliction of her own duty. And his only weapon? A magnetic watch! Come on! It starts in Jamaica, home of Goldeneye, author Ian Fleming’s long-time residence, where he wrote a novel between January and March every year between 1952 and 1964 and it concludes on a train, in homage to Dr No. That’s before we even mention the incredible song composed by Paul and Linda McCartney and performed by Wings. McCartney was so thrilled to do it he paid for the orchestra himself and hired George Martin to do the arrangement. It’s breathless escapism with action sequences moving seamlessly one unto the other, interrupted only by some hilariously silly lines uttered by the urbane agent. Effortlessly performed. Written by Tom Mankiewicz, who even remembered to include some of the original novel’s elements. It made its UK TV premiere in 1980 and remains the most viewed film on British TV . He always did have an inflated opinion of himself
Aka The Secret of Dorian Gray/Il dio chiamato Dorian/Das Bildnis des Dorian Gray. One day when even you’ve become an old and hideous puppet this will still be young. London student Dorian Gray (Helmut Berger) is the subject of a portrait by society painter Basil Hallward (Richard Todd) whose clients hedonistic aristos Lord Henry Wotton (Herbert Lom) and his wife Gwendolyn (Margaret Lee) take a fancy to him. Meanwhile he has fallen in love with aspiring actress Sybil Vane (Marie Liljedahl) as she rehearses Romeo and Juliet. She makes him think about someone other than himself for a change. As Basil completes his portrait Dorian finds himself obsessed with his painted image and swears that he will trade his soul to remain young. His relationship with Sybil grows complicated and argumentative and she is killed when she is knocked down by a car. Dorian is heavily influenced by Henry who has him sleep with Gwendolyn and Dorian then becomes immersed in society as a kind of gigolo who makes other people famous, be they men or women. However as the portrait begins to reveal his age and escalating depravity he hides it away from sight where it changes appearance and becomes ugly and Dorian ends up killing Basil when he says he’s not responsible for the alterations. Dorian is conscious of the peril of his situation, particularly when Henry introduces him to Sybil’s double, a woman married to a scientist embarking on research into rejuvenation … Everything is yours. Take it. Enjoy it. The most beautiful man of this or any time stars in a European co-production of the greatest work of literature by the greatest Irish author and it’s updated to the flashy, groovesome Seventies. What bliss is this?! With equal parts tragic romance and fetishistic kink it easily falls into the category of trash yet the moral at the centre – the idea that youth is beautiful in itself, not just for what it can obtain – gives it a lingering value. The god-like Berger is perfectly cast as the impossibly erotic creature who transitions from youthful selfishness to graceless decadence, and his sleazy polymorphous journey through the fashionable world of swinging London is both quaintly dated and oddly touching, principally because of the relationship with Liljedahl (best known for her soft-core films in her home country of Sweden) and Berger’s consistent performance, beset by narcissistic fascination, bewildered by loss. It is precisely because this plugs into the truly pornographic ideas behind the 1890s textual aesthetics that it seems oddly perfect as an adaptation despite the occasional surprise – a bit of S&M in a stables, plus it’s not every day you see Lom approach a beautiful young man to have his wicked way with him. The screenplay is credited to giallo director Massimo Dallamano, Renato Romano, Marcello Coscia and Günter Ebert, from Oscar Wilde’s indelible novel. The contemporary score is composed by Peppino De Luca and Carlo Pes. Produced by Samuel Z. Arkoff and Harry Alan Towers for American International Pictures. You only have a few years to live really fully
No matter what happens somebody’s gonna get screwed. Shy Eddy (Josh Charles) finds he’s rooming with brash Stuart (Stephen Baldwin) when he arrives on a new campus. They learn to tolerate and even like each other despite being diametric opposites. When Alex (Lara Flynn Boyle) is accidentally billeted to the single room in their dorm suite she has to stay put because she can’t prove she’s female. She wants to have sex with Eddy but he’s inexperienced, while Stuart comes on to her too strong. The guys gang up on her when she brings home another guy. Then Eddy confesses he’s not exactly heterosexual but has never slept with either a guy or a girl and things get complicated when he realises he likes Stuart. A car trip and a naked swim bring out feelings between the three that they finally act upon … You were just about ready to tap into something savage and emotional and you ruined it by trying to be something you’re not. Filmmaker Andrew Fleming occupies a peculiar space in cinema – an auteur in mid-range movies, mostly writing sympathetically from the point of view of young people finding their way in the world. This 90s production has a personal dimension, as it’s apparently based partly on his own college experiences. It’s beautifully shot (by Alexander Gruszynski) and filled with contemporary songs that land thematically. Alex’s attempts to seduce Eddy are initially played for comedy, as are Stuart’s attempts to sleep with Alex. They then agree to disagree and form a mysterious triangle that elicits comment on campus including from the Lobby Lizards (Martha Gehman and Alexis Arquette) but are still trying to figure out how they can sustain a friendship while dealing with the lustful feelings they are failing to manage. I love Freud, unfashionable though he may be. It’s shrewd and funny, with some great character detail and never swerves the issues even if they’re delivered in comic bits rather than serious exchanges – they’re soulful and heartfelt. I understood the moral of the story. Two’s company. Three’s pathetic
It’s dangerous to presume with the Trinidad lady. Post-war Trinidad and Tobago, a territory under British control. When nightclub performer Chris Emery (Rita Hayworth) discovers that her husband Neil has died in suspicious circumstances, initially thought to be suicide, she resolves to help the local police Inspector Smythe (Torin Thatcher) and Anderson (Howard Wendell) find his killer. Soon she is caught between two men, her late husband’s suave foreign friend Max Fabian (Alexander Scourby), who has designs on her; and her brother-in-law, Steve Emory (Glenn Ford), who arrives on the island and begins his own investigation into his sibling’s death since he cannot take the suicide verdict remotely seriously due to a letter his brother sent him. As evidence begins to point to Max as the killer and her feelings for Steve grow, Chris finds herself in an increasingly dangerous situation with a political plot that threatens the stability of everyone around her, even her homeland of the United States … The worst tortures are the ones we invent for ourselves. Reuniting the stars of that perverse noir Gilda, this essays a variation on the theme but this time the S&M is ingrained in the political subtext of Nazis planning an attack on an unsuspecting US from the British-controlled Caribbean. Hayworth was making her comeback after four years away from the screen gadding about with the jet set and getting married and what have you. She is at her most lustrous and dazzling, singing, dancing to calypso and generally slinking around being sexily begowned by Jean Louis; while Ford is befuddled and anxious, as befits the role of the concerned brother-in-law investigating murderous island-hopping foreigners. The script by Oscar Saul and James Gunn is just ringing with memorable lines decently distributed through a wonderfully sinister ensemble nourishing a rich atmosphere. Valerie Bettis snarls vixen-like among the Germans she accompanies; and even Juanita Moore as housemaid Dominique gets her moments – This one is a man. The other is a shadow of him. The gallows humour doesn’t end there as tensions escalate and intentions are clarified – Even at the risk of dislocating your personality, try to be calm. You’ll recognise the references – Notorious, Casablanca, even All About Eve. Fabulous stuff, nimbly directed by Vincent Sherman and produced by co-writer Virginia Van Upp who devised the story with Bernie Giler. I am just a pawn, a weak man. I am very easily dominated!
I’m amazed at how mediocre I’ve turned out to be. Nick (Jim Broadbent) and Meg Burrows (Lindsay Duncan) are a married academic couple from Birmingham advancing in age and tension. To mark their 30th wedding anniversary, the two embark on a trip to the place they honeymooned three decades before: Paris. Hoping to rejuvenate their marriage, the couple arrives in Paris only for things not to go as planned. Their honeymoon hotel is horrifying so Meg insists on booking into the best hotel in town. They eat lavishly and run out of a restaurant without paying. Their hi jinks re-ignite their romance. Their son wants to move back in but Meg is adamant he can’t, Nick fields the calls from back in England as Meg rages that he is too tolerant. Eventually, the two bump into Nick’s former Cambridge acolyte Morgan (Jeff Goldblum) who is now a philosophy star and they attend a dinner party at his posh Rue de Rivoli home that ultimately opens up a new view of life and love for the ageing couple… I knew this trip would be a fucking disaster. Author and screenwriter Hanif Kureishi’s fourth collaboration with director Roger Michell is all at once delightful homage, biting meditation on ageing and a thoughtful discourse on the absurd difficulties of sustaining an enduring marriage. It’s also a sly commentary on academic rivalry, PC-ness (Nick is being retired early because he told a black woman student she should spend more time on the books and less on her hair), wrongful assumptions about the person you know best and the real problems of intimacy after decades living in someone else’s pocket. This last five to ten years your vagina has become something of a closed book. Sentimental Broadbent is angry beneath that pleading surface; flinty Duncan is superficially icy but truly loyal – and hot. When Morgan takes Nick’s raucous and self-pitying dinner party confession for a kind of Situationist performance and both husband and wife are disgusted by his ignorance of the truth when it’s laid bare, it is a joy to behold them unite again. And then, the ending, a glorious homage to Bande à part, re-enacting a scene in a simple but uplifting manner that might make you fear growing old just a little bit less. You’ll recognise Morgan’s son as Olly Alexander, of the band Years and Years. This is where I want to be forever