The story of a Broadway choreographer under such pressure to be top of the Bill that success could cost him his life. A film that is really a meditation on love, life, death and personal priorities. The real standout is the vibrant editing and music - long before MTV coopted the fast and loose cutting styles that make it hard to focus, Fosse put it to good use. He doesn't just cut for shock value, he cuts WITH the music, creating images that go right into your inner rhythm somehow. Brilliant ent
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APOCALYPSE NOW (1979)
Certification18 Our Rating
The greatest movie ever made? A soldier is sent into the Heart of Darkness to retrieve a commander gone AWOL in an insane reality of tin-pot power, paranoia and inglorious killing. The horror of war is stripped naked in a surreal twilight world. The crew nearly went mad making it, Martin Sheen suffered a heart attack and Coppola flew so far beyond budget that the word 'bankrupt' was nearly redefined. See "Heart of Darkness"...
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APOCALYPSE NOW REDUX (1979)
Certification18 Our Rating
The definitive 'Apocalypse Now' (as if the original wasn't pretty definitive) this has nearly an hour of extra footage fleshing out the surreal journey of our central protagonists and, though it brings the film to a whisker short of three and a half hours, much of it explains what happens to the eclectic characters we meet. The cut version of 'Apocalypse Now' stands as one of the most awesome films of modern cinema, anyone who has seen it will inevitably see it again, it's just that now you have
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BARTON FINK (1991)
Certification15 Our Rating
It's 1941 and the golden days of Tinsel Town. Seriously earnest New York scriptwriter Barton Fink is lured to Hollywood with an offer to write a wrestling movie. Stricken by writer's cramp and seeking inspiration, Barton finds it in real life events. This witty drama was a Cannes Film Festival multi-award winner.
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BLACK ORPHEUS (1959)
CertificationPG Our Rating
The legend of Orpheus and Eurydice recreated in Rio de Janeiro with an all black cast. Orpheus (a tram conductor!) is pursued by Death as he and his beloved Eurydice weave through the carnival madness of Rio in full swing. Amazing energy and colour with superb direction.
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BLOW-UP (1966)
Certification15 Our Rating
A succesful photograper in swinging sixties London leads an aimless existence. Then one day he apparently witnesses a murder in the park. A slow moving thriller, Antonioni's film is also a meditation on the relationship of film to reality and the relationship of the individual to society.
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BRIEF ENCOUNTER (HOWARD/JOHNSON) (1945)
CertificationPG Our Rating
This movie shocked audiences back when it was first released, a sympathetic portrayal of two strangers who meet in a train station and have a non-consumated extramarital affair, was too strong for the times. Written by the equally shocking Noel Coward, this is a classic British melodrama.
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DANCER IN THE DARK (2000)
Certification15 Our Rating
Selma is an immigrant factory worker in America, whose only form of escape is through the Hollywood musicals of old, her young son is going blind and she is struggling to scrape together enough money for an operation to reverse his condition; But Selma's grim existance is on an ever darker path and as her world escapes from her control it spirals into a relentless and unavoidably doomed finale. Visually stunning, surreal and unflinchingly tragic, Dancer In The Dark won the Palme D'or at Cannes
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ELEPHANT (2003)
Certification15 Our Rating
Gus Van Sant's take on the shooting at Columbine High School is a masterpiece. Using a cast of unprofessional actors, he has created a unique and highly affecting film, rich in atmosphere and style. The non-linear narrative follows the experiences of the key characters, giving a different perspective of events in the short time frame (most of the events shown in the film take place in about an hour). While the tension in the film obviously comes from the impending violence, the film's strongest
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FAHRENHEIT 9/11 (2004)
Certification15 Our Rating
There's a lot you can say about Michael Moore. He's sentimental. He massages the truth to fit the points he's making. His reliance on comedy when making serious points sometimes defeats his objectives (more suited to his excellent TV Nation series). He is a propagandist. But in a world dominated by right-wing media conglomerates, neo-conservative thinktanks and war profiteers thirsty for new conflicts, you can easily forgive his mawkish foibles. Fahrenheit 9/11 is an excellent feature in it's co
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