Irish actor Ciaran Hinds has been a fixture of British and Irish TV and film for decades.  I loved him in Prime Suspect 3 (1993), and since then he’s only become more popular;  this fall, he’ll be appearing as Dumbledore’s brother in Harry Potter and the Deathly Hallows.

In Conor McPherson’s The Eclipse Hinds plays Michael Farr, a man who recently lost his wife to cancer, and who is struggling to take care of his two young children while also volunteering at the local literary festival.  While helping out at the festival, Farr meets Lena Morelle (Iben Hjejle), a novelist with a flair for the fantastic—her latest book is about seeing ghosts.  Farr himself has suddenly begun seeing apparitions of his elderly father-in-law, and feels an instant kinship with Morelle because of her seeming expertise on the subject.

As the two grow closer, Farr’s ghost sightings become more extreme, and Morelle is pursued by a one-time love interest, played with boozy verve by Aidan Quinn.  Everything eventually comes to a head—but the film doesn’t devolve into horror-film cliché, nor does it turn into a sappy supernatural romance story.  Instead, it stays quiet, thoughtful, and realistic—once the film ends, you have the distinct feeling that anyone could see a ghost, no matter how sane they are.

The Eclipse’s poignancy is anchored by Hinds’ earnest, sympathetic performance (which netted him a Best Actor award at Tribeca in 2009) and this is what keeps it from tipping over into ghost story absurdity.  McPherson’s directing is also wonderfully understated—the film has a real life to it, with fully developed characters and a setting (County Cork, Ireland) that’s just misty enough to be a little otherworldly.  This film is perfect to curl up with on a chilly fall night.

The Eclipse is now available on DVD.

Director – Conor McPherson

Cast – Ciarán Hinds, Iben Hjejle, Aidan Quinn

Release Year – 2009

Reviewed by John of the Dead

Director Conor McPherson has brought the fear and supernatural realm into his latest film, The Eclipse. This movie brings the type of horror film that I personally would like to see more of in today’s movies. Eclipse brings the ghost stories we grew up to while combining a budding love story with a hint of raw human condition making it into a beautifully crafted work of art. It shows us through the lead character how we all must carry on living after we mourn the death of a loved one. This movie goes to show that it does not need gallons of blood and guts to emphasize the storyline. If there was ever a haunting Irish tale to be told on screen, then my lads and lasses, I would not dare disappoint you with this review.

Former writer Michael Farr (Ciarán Hinds) is a widower living in the small Irish town of Cobh with his two teenage children. He still grieves over the death of his wife. He continues to press on with his life by volunteering for the town’s annual literary festival. One evening, Michael is haunted by weird noises and a shadowy figure walking all throughout his house. He wonders is he going crazy or it is a strange dream.

One day, he serves as the chauffeur to writer Lena Morelle (Iben Hjejle) who has the knack for the supernatural in her latest book. Lena tries her best to help Michael understand what is happening to him, they developed a unique connection to each other. This is first time Michael found love since his wife passed. As Michael and Lena are getting acquainted, another author Nicholas Holden (Aidan Quinn) tries to shake things up between the two by claiming his love for Lena.

The Eclipse brings a well-written haunting tale to Cobh, Ireland. Director Conor McPherson has proven to be a master of creepy suspense. The three lead characters were believable and funny. We had Michael who not only had to deal with the ghosts in his own home, but we had to see that he had come to terms that with the fact that he had to live for the sake of his two kids. Aidan’s performance of Mr. Holden provided the light-hearted comedic relief needed for the Eclipse. In nearly every scene, Holden was fighting for the affections of Ms. Morelle, drinking his life away, or inflating his “I’m the best author” ego. I have to give Aidan Quinn praise for his work in the movie. Although Lena didn’t want any part of being in the festival, she provided the safety and confidence that Michael desperately needed to move on.

Conor McPherson knowingly took the elements of instant fear and genuine terror that gave his movie one that moviegoers will keep their lights on for when they fall asleep. Even the closing scene of the Eclipse was so emotional, it tugs at the heartstrings. The ethereal musical score by Fionnuala Ni Chiosian was crafted to be soothing yet eerily brilliant. Who knew that a supernatural movie can be so delicate that it even pleased me? If you want a movie to literally scare the living daylights out of you, then look towards this Eclipse – for now.

FINAL GRADE: A-

There is also Nicholas (Aidan Quinn), a best-selling American author. Quinn is fantastic here as a man who is very full of himself. He is selfish, obnoxious and rude. He comes to the festival to meet up with Lena as they had a romantic encounter in the past. Lena is reluctant to continue anything with him because he is married. Nicholas (Quinn) chews up the scenery as he gets drunk and makes several heavy handed advances at Lena. He goes crazy when he sees Lena spending time with Michael, who he sees as a simple driver and a stalker. His outbursts and behavior toward Michael in one key scene are hilarious and disturbing.

The film transitions between the drama of the love triangle and loneliness of Michael’s life, some truly funny scenes and ghostly horror scenes. The horror scenes are sparse and that makes them work all that much more. Ghosts pop up unexpectedly a couple of times. We never expect the scares as they are interwoven with the quiet and dramatic scenes.

My only gripe is that the ghosts/apparitions are never fully explained. There is some slight closure, but no outright answer for the apparitions. Otherwise this is a well acted and very well paced film that juggles genres expertly.

Three stars ***

Trailer

Director – Conor McPherson

Written by: Conor McPherson

Produced by: Robert Walpole

Directed: Conor McPherson

Rated R for language and some disturbing images

88 min.

U.S. Release Date: March 26, 2010 (limited)

What happens when you die?  When you lose a loved-one, can they continue to interact with you even after death?  Can the dead have physical interactions with the living?  The Irish festival hit “The Eclipse” asks all of these questions somehow without being a “horror” film.  After a six-year layover, writer-director Conor McPherson constructs a frightening drama that deals with the horrors of losing a loved-one.  With visuals that conjure up shades of Woody Allen’s “Manhattan” and subtle scenes of domestic horror that are reminiscent of Robert Zemeckis’s “What Lies Beneath”, does McPherson’s psychologically thrilling drama have enough of its own flavor to leave a lasting impression?

Ciarán Hinds plays Michael Farr, a father of two who recently lost his wife to cancer.  During the day, he goes about his normal life at work and parenting his children.  However at night, Michael is tormented by recurring nightmares and bumps in the night.  We can only assume that these visions and sounds are caused by Michael’s wife, but are they?

There is a writer’s conference in town for the week, and Michael is working as a driver for some of the authors to make some extra money.  One of the female authors in town, Lena Morelle (played by Iben Hjejle), writes about ghostly visions with lost loved-ones in her fictional novels.  As Michael and Lena talk over the course of their drives from place to place, it becomes clear that Lena’s fictional ghost stories aren’t so fictional after all.  All these discussions of Michael’s visions make his mind go wild and he begins to experience visions while he is awake.  These visions have nothing to do with his wife, these new recurring scares are at the hands of an unidentified man covered in blood.  Michael has to figure out how to make sense of these visions, all while he learns to live life without his wife at his side.

McPherson’s visual style adds an extra dimension to “The Eclipse”.  The aesthetics of this film are very similar to Woody Allen’s “Manhattan” or Jason Reitman’s “Up in the Air”.  The world around Michael Farr is exactly as it was prior to his wife’s death, except now he sees it completely differently.  The rule of thirds (“Google” it) is constantly broken, as symmetry, awkward distances and unorthodox lighting methods all play into this movie’s refreshing look.  If I were teaching a course on cinematography I would throw out to traditional examples, such as Orsen Wells’s “Citizen Kane”, and show the class something new and unique, like “The Eclipse”.  Other than some awkward sound editing, which could have been a problem with my IFC On Demand feed, this film was executed almost flawlessly from a technical standpoint.

The idea of being haunted by a lost loved-one is something that everyone in the world can certainly relate to, and the way the filmmakers approach that topic is very intriguing here.  Immediately after a family member or friend’s death, there are little reminders of them all over the place, almost haunting those left behind.  These reminders pepper Michael Farr’s mind all day and night as he maintains a strong exterior for his children.  He plays his charade until he can’t look strong anymore; he is ruled by these uncontrollable hauntings.

If this subject matter interests you, you like watching film for its technical merits, or find intrigue in being scared by a film in an untraditional way, I definitely recommend this film to you!  The cast executes their roles convincingly, the visuals of this film are amazing, and there is great depth in the story that will leave you thinking about it for days.  “The Eclipse” is being released in a limited capacity this weekend and will be distributed in other markets via video-on-demand.

hi, police? yeah, there's a creepy guy staring at me, what should I do?

R

Ciaran Hinds, Iben Hjejle, Aidan Quinn

Nicholas: Did you ever knock anybody out?
Mike: Nope.
Nicholas: I did.  Brutally satisfying I have to say.  I know, that’s a terrible thing to admit…but it’s true.

A widower, Mike (Hinds), with a young daughter is seemingly being haunted by the ghost of his dead wife’s father.  Problem is, he’s not quite dead yet.  Mike meets Lena (Hjejle), an author in town for a writer’s convention, and the two bond while discussing the possible meanings behind the strange things Mike has been experiencing.

It was hard for me to decide what to write for the plot of this one because there wasn’t so much a plot as just a series of minor events which occurred over the hour and a half running time of the movie.  There’s really no solid answers given as to what is going on with Mike and his ghostly experiences, and a majority of the film is spent on a sort of love triangle between Mike, Lena, and an arrogant author named Nicholas (Quinn).

I guess the overriding theme of the movie is being haunted.  Mike is haunted by the memories of his wife.  Lena has some ghosts in her past, but we’re left to guess at those for the most part.  And as for Nicholas, well he’s haunted by the one night he shared with Lena that he’s never forgotten.  She regrets it, but he’s been smitten with her ever since.

While I can’t say it has the most enjoyable story and characters, it is a great looking movie.  The cinematography is really eye-catching, with lots of rich colors and nice locations.  I also liked how a lot of the characters were often shown in silhouette, keeping with the eclipse theme.  The Eclipse is the name of the book that Lena wrote, loosely revolving around ghosts I believe, but I’m not totally sure how the eclipse theme fits in with the rest of the movie.

Mike and Lena are good together, but Nicholas is a little too unlikable and annoying.  Any time he was on screen, I was ready for him to be gone immediately.  I guess that’s credit to Quinn’s acting ability, but a character whose only function is to aggravate other characters and the viewer is just not much fun to watch.

If you like films that are lovely to look at and have a mysterious, confusing feel to them, you might enjoy this one.  If you prefer more concrete stories, you might want to pass.  I’m somewhere in the middle.  Definitely not haunted by it though…

When you enter a room, always make sure there’s not a puddle of blood on the floor before walking too far into the room.  Otherwise you could slip and fall.

10 – 1 for one particularly annoying character – 2 for being a little too mysterious and vague = 7.0

Jeg kunne ikke tage nogle ordentlige billeder af tøjet til Munthe plus Simonsens show (skal jeg være ærlig, var der heller ikke noget, der var værd at tage billeder af – det var bestemt ikke blevet pænere af, at der nu kun er Naja Munthe tilbage). Så i stedet tog jeg et billede af alle fotograferne for enden af podiet, så I kan få en fornemmelse af, hvordan hele set-uppet ser ud.

Et lille behind the scenes-billede fra modebussen skal I ogå have. Modepressen bliver kørt rundt fra show til show og får oven i købet serveret mad, smoothies, chokolade og goodiebags undervejs – genialt!

Aftenens andet show var Designers Remix Collection, som blev holdt på den flotteste location ved Amager Strandpark, mens solen var ved at gå ned. Vejret og lyset kunne ikke have været smukkere.

Designers Remix har altid en imponerende frontrow. Fra min plads kunne jeg spotte skuespillerinden Iben Hjejle (som langt om længe har fået styr på sine lokker), grevinden og pr-kvinden Cath Danneskiold-Samsøe, yderst til højre Aqua-sangeren René Dif (bemærk det frække dyreprint på hans suit) og til venstre hans kæreste Rikke Nielsen, som en gang var min personlige træner.

Et par Balmain-inspirerede jakker havde også sneget sig ind i Charlotte Eskildsens kollektion – langt fra de eneste under denne modeuge.

Smukke norske Siri Tollerød var fløjet ind for at gå Designers Remix Collections show eksklusivt.

Torsdag aften sluttede i Øbro-hallen, hvor Stine Goya som sædvanlig stod for et af modeugens mest spektakulære shows. To synkronsvømmere agerede yndefulde pausefisk, inden showet gik i gang.

Modellerne tog et kort stop foran fotograferne for enden af bassinet.

Sangerinden Medina stod for showets finale, da hun kravlede op på 5-meter-vippen og trykkede den af med nummeret Kun for mig. Hun fik nærmest taget til over svømmehallen til at lette.

The eighth edition of the fest opens April 22 with Woody Allen’s Whatever Works, featuring “Seinfeld” creator Larry David, star of HBO’s “Curb Your Enthusiasm,” and Evan Rachel Wood, and continues through May 3.

Tribeca offers another rangy mix of features, including:

• Stay Cool, directed and written by the Polish brothers (Northfork) with Winona Ryder and Hilary Duff
• Tony-nominated playwright Conor McPherson’s The Eclipse, with Aidan Quinn, Ciaran Hinds, and Iben Hjejle
• Iranian filmmaker Asghar Farhadi’s About Elly, winner of the Berlin fest’s award for best direction
• Burning Down the House, a documentary on late, great NYC punk club CBGB’s
• Accidents Happen, with Geena Davis
• Caroline Bottaro’s Queen to Play, with Kevin Kline
• The Fish Child, directed by Lucia Puenzo (XXY)

Tribeca by the numbers – 48 world premieres, five international premieres, 14 North American premieres, and three U.S. premieres; films represent 33 countries.

The downsizing is largely due to sponsorship woes, as major sponsors Cadillac and Target dropped out, according a report in Variety, written by Dade Hayes.

“When we cut back a few years ago, it was because the festival had grown a little out of control,” fest executive director Nancy Schafer told Bloomberg News. “This time it’s because of financial considerations.”

The festival was founded in 2001 by Robert DeNiro and two partners, on the heels of the Islamofascist terrorist attacks on New York.

For complete details, visit the official festival site. For more coverage of the lineup announcement, click on the below links:

• Variety
• L.A. Times
• IndieWire
• Bloomberg News
• Cinematical

Agradecemos encarecidamente al excelente periodista (y, a pesar de eso, mejor persona) Jorge Romance, veterano de la blogosfera de primera hornada y propietario de algunos de los rincones digitales más clásicos y reconocidos de la red aragonesa (Aragón, país de blogs) como por ejemplo éste, el habernos puesto sobre la pista de esta joya (para esta tienda, se comprende), sobre la cual hemos clavado incisivos y caninos dispuestos a despedazarla sin piedad tal y como merece siguiendo la típica receta hollywoodiense de destrozar todo lo que pilla.

Este artículo bien podría titularse “cómo convertir un hecho histórico real, crudo y dramático, en una castaña pilonga en ocho sencillos y cómodos pasos”:

1) Se busca una hecho histórico camuflado en el tiempo, casi olvidado, pero que contenga pinceladas de drama existencial, de lucha por la supervivencia y por la libertad frente a un enemigo implacable y casi invencible, que tenga sus dosis de violencia y acción, de amor, de camaradería, con paisajes bellísimos, en fin, un montón de cosas que todas juntas den pie a la épica. Como Curro Jiménez ya está pillado, Paramount, la autora de la fechoría, sigue su habitual práctica de rebuscar en las montoneras de las librerías de todo a cien hasta que encuentra lo que buscaba, el libro de Nechama Tec, inspirado en un hecho real, que cuenta la odisea de tres hermanos bielorrusos que en 1941 escapan de la muerte segura que acompaña la invasión nazi y que, luchando en un principio por salvar la vida, llegan a erigirse en vengadores del exterminio judío de la zona y a ser refugio y protección de muchos fugitivos que se unen a ellos en su lucha por la libertad, si es que los bielorrusos sabían lo que era eso (de hecho salieron de la sartén para caer en las brasas). Es el producto idóneo para que un guionista de Hollywood que jamás ha estado en Bielorrusia, que cree que los nazis son un grupo de moteros de Illinois y que piensa que 1941 es una peli de Spielberg, coja un hecho real y lo manipule hasta que no lo conozca ni la madre que lo parió.

2) Se contrata a un director lo suficientemente apasionado de la épica grandilocuente y de cartón piedra que tanto gusta en Hollywood, alguien acostumbrado a despilfarrar grandes presupuestos y a rodar mediocridades con ellos, llenas de explosiones, uniformes, pompa y fanfarria, en la que no haya una sola línea de texto que tenga el más mínimo estilo propio o, ya si nos ponemos, sentido, alguien que consiga banalizarlo todo hasta convertirlo en un pozal de almíbar que dé grima. El director de Tiempos de gloria (precursora de todas las cursiladas que hemos oído sobre la era Obama), Leyendas de pasión (anuncio de Marlboro y cúmulo de desgracias de dos horas y media para el exclusivo lucimiento físico de Brad Pitt), En honor a la verdad (truño patriotero sobre héroes de pacotilla vestidos de caqui), Estado de sitio (un golpe de Estado ficticio en USA) o El último samurai (un Bailando con lobos en el lejano oriente, con un cuchillo más largo y ojos rasgados, que ya despedazamos aquí en su día) sería perfecto. Aunque ha hecho una película algo decente (Diamante de sangre), no parece probable que lo repita, así que es ideal para cagarla del todo: Edward Zwick.

3) Para rematar la jugada, encargar el guión a Zwick. Éxito asegurado: catástrofe garantizada. Hay que convencerle de que sea un guión largo y reiterativo, que aburra lo suficiente. Menos de dos horas y cuarto, impensable.

4) Escoger muy bien al trío de hermanos protagonistas. Un actor que haga de James Bond y que tenga ganas de hacerlo durante muchos años, para lo cual se esfuerza en que el resto de sus personajes sean una birria (Daniel Craig), un ex-niño bailarín que ahora va a ser Tintín (Jamie Bell) y un tipo que siempre pone la misma cara (Liev Shreiber) son ideales de la muerte. Es decisivo que el doblaje de los actores al castellano se haga odioso, así completamos unos caracteres cuya mayor expresión de dramatismo es el enarcamiento de cejas.

5) Es importante dirigir la película de manera convencional, nada de riesgo, nada de aportaciones que alguien pueda considerar novedosas, distintas. Lo mejor es asegurarse y caer en todos y cada uno de los tópicos del cine ambientado en la Segunda Guerra Mundial, desde el del tipo que enseña la foto de su novia para caer fulminado a la escena siguiente hasta el discurso “trascendental” bienintencionado y la epopeya de bolsillo.

6) La película, financiada en Estados Unidos y como casi siempre por el lobby judío, ha de contar obligatoriamente con una tesis subterránea que hable del sacrificio judío, de su lucha y de su resistencia, nada que ver con el arquetipo de judío pasivo y dócil enviado en lotes a la cámara de gas. Sin embargo, no conviene exagerar para que no se note mucho la elegía pro-hebrea y, por extensión, pro-israelí. Hay que hacer taquilla en Europa y hay que disimular. Por eso, aunque el resultado es que los judíos quedan todavía más papanatas, sumisos y obedientes que lo que indican los tópicos, hay que darlo por bien empleado.

7) Hay que contratar a un músico extraordinario para hundir su reputación. James Newton Howard es magnífico. Hay que coger su excelente partitura y usarla sin sentido alguno. Pero destrozar una carrera puede ser poco. Mejor acabar también con un director de fotografía. Eduardo Serra es el apropiado. Su fotografía será sin duda grandiosa, pero la ensuciaremos lo sufiente desaprovechándola en cada plano.Total, viene de un país del tercer mundo: Portugal, ese que limita al este con España y al oeste con Guatemala.

8 ) Hay que emplearse a fondo para que la película resulte reiterativa, tópica, por que los diálogos sean artificiosos, forzados, imposibles, que no tengan pasión ni garra, y hay que conseguir que los actores los pronuncien maquinalmente, como si leyeran. Hay que vender la película como un tratado sobre el heroísmo para luego no ofrecer otra cosa que pirotecnia, lugares comunes y un completo vacío. Pero sin pasarse, porque es preciso que los amantes del cine de acción o del bélico tampoco salgan satisfechos…

Y así, en sencillos y cómodos pasos, tenemos una gran historia reducida a mera vulgaridad.

Acusados: Edward Zwick y compañía.
Atenuantes: no ha lugar.
Agravantes: el tufillo forzadamente épico que no está respaldado por unos personajes creíbles ni por una historia que merezca tal calificativo, resulta casi paródica.
Sentencia: culpables.
Condena: excepto Zwick, libertad bajo palabra de no hacer una segunda parte. Zwick deberá engullir dos docenas de albóndigas de cemento sin masticar y sin beber otra cosa que no sea líquido de frenos.

Danmark er blevet en nation med en aktivistisk udenrigspolitik, der konstant har store troppekontingenter udstationeret i verdens brændpunkter, enten som led i fredsbevarende operationer eller som direkte deltagere i krigshandlinger. Det kan man have forskellige holdninger til, men som samfund er der i hvert fald tale om nye erfaringer, og det er derfor naturligt, at de tages op i film og bøger. Hvad er det egentligt engagementet gør ved os?

Samtidigt kan det også ruske lidt op i dansk film, der de sidste 15 år har produceret en stribe velspillede dramaer og komedier om middelklassens genvordigheder. Meget af det har været udmærket, men afveksling skal der til, og her byder biograferne netop nu på Katrine Windfelds spillefilmsdebut ’Flugten’ med Iben Hjejle og Lars Mikkelsen i hovedrollerne. Hjejle spiller journalisten Rikke Lyngvig, der kidnappes af taliban i Afghanistan, men slippes fri af den unge Nazir, som nok vil have hævn for sin fars død, men ikke er klar til at slå en forsvarsløs kvinde ihjel.

Hagen ved historien er, at hun er nødt til at love at fortælle alt og alle, at hun er flygtet på egen hånd. Ellers vil Nazir blive myrdet af sine egne. Den løgn griber snart om sig, da hun selvsagt bliver en sensation i Danmark med interviews, artikler og en bestseller om forløbet. På sin vis er det befriende, at svære psykiske eftervirkninger for en gangs skyld ikke får lov til at fylde det hele, men at det i stedet skildres, hvordan Lyngvig bruger sagen til at fremme både personlige ambitioner og politiske mærkesager, primært i forhold til flygtningepolitikken.

Filmen spidser til, da Nazir flygter til Danmark og beder Lyngvig om hjælp – noget hun naturligvis ikke kan afslå, selvom hun ikke er meget for at indrømme, at hun har løjet. Selvom hun tydeligvis helst bare ville lukke fortiden af, så trænger den sig uafviseligt på, og der er en klar parallel til den danske debat om asyl til de tolke, der hjalp danske soldater i Irak, og som frygtede for deres liv, da tropperne blev trukket ud.

Desværre bliver den politiske kontekst karikeret, fordi integrationsminister Hvilshøj – undskyld: Hvidtfeldt – udtaler sig firkantet og utroværdigt. Skuespilleren – hvis navn jeg desværre ikke fik fat i – mangler gennemslagskraft, og det er i hele taget filmens problem, at skuespillerne rundt om Lyngvigs affære med advokaten Thomas i Lars Mikkelsens skikkelse og konflikten med den bistre kollega Arne spillet af Henrik Prip er for dårlige. Trods filmens store ambitioner og udsyn er det altså alligevel de trivielle middelklasseproblemer med arbejde og kærlighedsliv, der fungerer bedst. ’Flugten’ er elementært spændende, men den formår ikke for alvor at gøre os klogere på Danmarks nye rolle i verden.

Follows the love affairs and belated growing up of a \”"Generation X\”" pop music fanatic and record store owner.
Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby’s cult-classic novel High Fidelity emerges unscathed from its Americanization, idiosyncrasies intact, thanks to John Cusack’s inimitable charm and a nimble, nifty screenplay (cowritten by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups–which doesn’t include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura’s desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong.

Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack’s Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack’s character in Say Anything (who was told “Don’t be a guy–be a man!”), and if you like Cusack’s brand of smart-alecky romanticism, you’ll automatically be won over (if you can handle Cusack’s almost-nonstop talking to the camera). Still, it’s hard not to be moved by Rob’s plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they’ve grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob’s life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer-songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta-Jones as Rob’s ex-girlfriends. With brief cameos by Tim Robbins as Laura’s new, New Age boyfriend and Bruce Springsteen as himself. –Mark Englehart

High Fidelity is available at Amazon for $9.99. To Order click here
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Other Products of Interest

• Grosse Pointe Blank
• Say Anything
• Almost Famous
• Better Off Dead
• Serendipity

Jeg kom af vanvare til at se noget af award showet “Boogie Prisen” på DR1 her til aften, selv om jeg vist ikke længere tilhører målgruppen for ungdomsprogrammer. Klovn vandt en pris, og Iben Hjejle sagde i sin takketale (citeret frit efter hukommelsen): “Husk at købe økologisk, og husk at stemme langt til venstre for midten, når i får stemmeret”.

Ja, det er temmeligt rystende, så meget dumt som så mange kendte kan finde på at sige, når de modtager en pris for dette og hint. Mon det skyldes, at det her på kontinentet er smart for “kunstnere” at være røde? Eller er det måske simpel nyttemaksimering ifb. med kunst- og kulturstøtte for andre folks penge?

Det kan selvfølgelig også bare være, at hun oprigtigt er rød. Bevares, jeg er oprigtigt stort, så hvorfor ikke.

Men det er da påfaldende, så få borgerlige ryster der kommer fra Kulturdanmark.

Dokoļe?? Cik ilgi tas viss vēl turpināsies? Un “Idiotu” virzienā aizgājis un vairs nezin, ko ar “Dogmas” kameru iesākt, un arī IMDBā dzēlīgās un absolūti taisnīgās piezīmes par to, ka “režisors ienīst pats savu filmu”, bet visam pāri – mežonīgs sociālā mesidža un mākslas koncepcijas diskurss. No kura principā arī “bosiks” sastāv. Tur nav ko redzēt. Trīrs ar savu nožēlojami infernālo (drīzāk jau pat otrādāk) “humoru” var iet pakaļā, pēc diviem gadiem mēs “Wasington” seansa laikā paspiedīsim viens otram rokas, lai neredzētos vairs nekad. Inaf iz inaf.

in 2007 martcore says
neapmier. ņurd.