Jeremy Thomas Movies

This homage to the cinema by venerated movie-maker Agnes Varda, often dubbed the "grandmother" of the French New Wave, features an all-star international cast. The story is based upon the memories and insights of the 100-year old Mr. Simon Cinema. He lives in a magnificent house filled with movie memorabilia. To help him remember the important details of his career he hires Camille, a film student to write down his remembrances and experiences which have involved all areas of movie-making. Camille comes once a day for 101 days. Film clips, photographs and actual visitors highlight his stories. As he continues to spin his yarns, the imagery in the film smoothly morph into other images. Camille, when not recording, is involved in other exploits including a romance with a production assistant, Mica who aspires to becoming a director. She also begins plotting a way to get to Mr. Cinema's fortune by having a friend pose as his long lost heir. Many other characters are peripherally involved including Death, an Italian seeking the rights to his film catalogue, and a memory specialist. ~ Sandra Brennan, All Movie Guide

Psychiatrist Alex (Art Garfunkel) becomes sexually obsessed with Milena (Theresa Russell), a woman whom he meets at a party. The pair become involved in an intense and mutually destructive love affair. The drama unfolds in a series of flashbacks, as Alex tells his story to police Inspector Netusil (Harvey Keitel) who is investigating Milena's apparent suicide attempt. Alex's obsession grows, but Milena stays slightly out of reach. Originally rated X, but somewhat toned down to accommodate an R rating, Bad Timing: A Sensual Obsession is an interesting exploration of the nature of sexual passion and jealousy. ~ Linda Rasmussen, All Movie Guide

Internationally acclaimed director and Japanese media phenomenon Takeshi Kitano follows up his well-regarded Kikujiro with this straight-ahead gangster saga with a cross-cultural twist. The film focuses on Yamamoto (Kitano), a yakuza forced out of the country when a gang war all but wipes out his clan. Armed with a fake credit card, a forged passport, and a bag of money, he journeys to the strange and foreign land of Los Angeles to join his half-brother Ken (Claude Maki), who works as a low-rent street tough alongside fast-talking hustler Denny (Omar Epps). With brutal efficiency, the poker-faced Yamamoto starts staking out turf and organizing Ken's mob into one of the most powerful criminal syndicates in the city. As his gang grows in number and power, he is joined by Kato (Kitano regular Susumu Terajima), his former lieutenant from Japan, who entreats Little Tokyo's pathological crime boss Shirase (Masaya Kato) to join the group. Yamamoto seems unstoppable until his gang runs afoul of the Mafia. Soon, all that he built quickly and bloodily starts to unravel as every member in his gang is marked for death. This film was screened at the 2000 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

After surviving a brutal car wreck, commercial director James Ballard finds himself slowly drawn to a mysterious subculture of people who have transformed automobile accidents into erotic events. Like the J.G. Ballard novel that inspired it, David Cronenberg's study of the sexual dimension of man's relationship to technology was a magnet for controversy, drawing a NC-17 rating and criticism from several sources, including studio owner Ted Turner, who attempted to prevent the film's American release. But though some have leveled charges of pornography, James' descent into this fetishistic underworld is approached with cold, scientific detachment. Characters like Vaughn, the charismatic group leader who stages recreations of celebrity car crashes, seem more like driven researchers than sexual renegades, which is undoubtedly part of the film's point. This impression is reinforced by the pristine cinematography by Peter Suschitzsky, which proves particularly haunting during a crucial accident scene, and Howard Shore's superb score. Far from exploitative, Crash in fact proves less transgressive than the original novel, but is still undoubtedly not for all tastes. ~ Judd Blaise, All Movie Guide

A woman isolated in the harsh terrain of Australia's Northern Territories (Rachel Weisz) finds her withering passion for life unexpectedly rekindled by the arrival of a mysterious drifter (Colin Farrell) as author Tim Winton's acclaimed novel comes to the screen under the direction of Phillip Noyce. ~ Jason Buchanan, All Movie Guide

A Tibetan-American filmmaker seeking to capture the tales of former political prisoners on film is drawn into the plight of Tibet's exile community in this drama from filmmakers Ritu Sarin and Tenzing Sonam. Though she currently hails from New Your City, Karma (Tenzin Chokyi Gyatso) is one-hundred-percent Tibetan by blood. Upon arriving at the Indian border town of Dharamsala that is currently occupied by a number of Tibetan exiles, Karma makes the acquaintance of ex-monk Dhondup (Jampa Kalsang), who has fled from Tibet after fighting against the government. Soon embarking on a journey with Dhondup to seek out the missing Loga (Phuntsok Namgyal Dhumkhang) and deliver to him a treasured charm box, Karma finds herself immersed in Tibetan Buddhist culture and forming a close bond with a handsome young Tibetan adventurer named Jigme (Tenzin Jigme). ~ Jason Buchanan, All Movie Guide

Private investigator Tom O'Toole (Nick Nolte) is reluctant to take on a case offered to him by cryptically offbeat Angela Crispini (Debra Winger), but he lets himself be seduced by her. Angela believes that Felix Daniels (Frank Military) was wrongly convicted of murdering his uncle. As O'Toole learns more about the crime, he becomes convinced that Felix was framed by corrupt local officials, including States Attorney, and old rival, Charlie Haggerty (Frank Converse). O'Toole also falls in love with Angela, who increasingly appears to be a psychologically disturbed woman who may have been involved with several of the principals. When Angela admits that she doesn't always know when she is telling the truth, she speaks to O'Toole's predicament and the film's theme: the dangers of relying on an unreliable narrator. ~ Steve Press, All Movie Guide

Director/screenwriter Gerald McMorrow makes his feature debut with this ambitious psychological sci-fi drama set between contemporary London and the dystopic Meanwhile City, where the separation between church and state has been obliterated to make way for a religion-dominated society. As atheist vigilante Jonathan Preest (Ryan Phillippe) prepares to seek revenge against Meanwhile City's powerful leader, privileged artist Emilia (Eva Green) finds her cynicism and depression accelerated by the difficult relationship she shares with her mother. Meanwhile, sensitive Milo (Sam Riley) attempts to recover from a recent heartache, just as deeply religious Peter (Bernard Hill) arrives in London to search for his missing son, a haunted Gulf War veteran. As the narrative shifts between the real and imaginary worlds, McMorrow explores the complex relationships between fantasy, faith, and love. ~ Jason Buchanan, All Movie Guide

The beat of "go-go" music -- hip-hop oriented dance music with a heavy emphasis on percussion -- provides the backdrop for this drama about corruption and racism in Washington D.C. There are the good guys who play and promote the music, the bad guys who deal in drugs and crime, the bad racist cop out to close the go-go clubs once and for all, and the powerless reporter (Art Garfunkel) who is caught in the middle. While the script raises interesting points about police persecution of African-American men and journalistic credibility in coverage of issues regarding the black community, music is the dominant force in this film, with performances by Trouble Funk, Chuck Brown and the Soul Searchers and edds & The Boys. The film also deserves credit for portraying a side of Washington, D.C. not often shown on screen. ~ Eleanor Mannikka, All Movie Guide

Filmmaker Julien Temple takes a look beyond the guise of the late, anti-establishment icon Joe Strummer to offer a warm portrait of the self-described "mouthy little git" who was born John Mellor and was destined to become the frontman for one of the most influential punk bands ever. A complex figure who would learn to use his gift for music as a means of decompressing his conscience, Strummer is revealed here through unearthed interviews and the illuminating recollections of his closest companions. At times idealistic to a fault, the flawed Clash singer/songwriter had a special gift for compelling listeners to think as they moved to the music. Vintage performance footage and excerpts from Strummer's popular BBC radio program offer the ideal musical backdrop for an affectionate tribute to a punk-rock legend. ~ Jason Buchanan, All Movie Guide

Bernardo Bertolucci attempts to mix Buddhist spirituality with childhood fantasy in Little Buddha. When Dean Conrad (Chris Isaak), a Seattle architect, comes home from work one day, he finds two robed Buddhist monks sitting in his living room talking with his wife Lisa (Bridget Fonda). Guided by a series of disturbing dreams, the monks have traveled from Nepal to Seattle because they believe that the Conrad's ten-year-old son, Jesse (Alex Wiesendanger) may be the reincarnation of a legendary Buddhist mystic. The Conrads are initially skeptical, particularly when the monks want to take their son back to Bhutan with them. But after Dean's partner commits suicide, Dean has a religious awakening ("I've been doin' some thinkin'," he says) and permits Jesse to go away with the monks. Then the Lama Norbu (Ruocheng Ying) gives Jesse a children's book about the Buddha Siddhartha (Keanu Reeves). Siddhartha leads a sheltered life until he comes upon a couple of all-knowing beggars who introduce him to poverty and hunger. After this revelation, Siddhartha decides that it is his destiny to relieve all human beings from pain and suffering. Back in present day, Jesse is now knowledgeable about the basis of Buddhism. Much to Jesse's and his father's surprise, however, they find that there are two other children at Bhutan who show signs of being the reincarnated Buddhist mystic. ~ Paul Brenner, All Movie Guide

Merry Christmas, Mr. Lawrence was the first English-language project of Japanese director Nagisa Oshima (Death by Hanging, In the Realm of the Senses). In tune with his previous filmic essays on racism and brutality, Merry Christmas concentrates on a war of wills between rebellious POW David Bowie and camp commandant Ryuichi Sakomoto. Assuming that his other prisoners' unwillingness to protest their cruel treatment is a sign of weakness, Sakomoto is most impressed by Bowie's enigmatic defiance. While Bowie and Sakomoto seem to be operating on a high spiritual and intellectual plane, bilingual prisoner Tom Conti (the "Mr. Lawrence" of the title) engages in a more standard adversarial relationship with sadistic sergeant Takeshi Kitano. ~ Hal Erickson, All Movie Guide

This cinematic/literary hybrid fuses motifs from Beat writer William S. Burroughs's novel of the same name with elements of the author's biography and plenty of the cerebral alienation and biomorphic special effects fans of creepy cult director David Cronenberg have come to expect. Bill Lee (Peter Weller) wants to write, but he exterminates bugs to pay the bills. His wife, Joan (Judy Davis), becomes addicted to Bill's bug powder dust, and soon he joins her in a world of unorthodox hallucinogens; he visits the kindly yet sinister Dr. Benway (Roy Scheider) and walks away with his first dose of the black meat -- a narcotic made from the flesh of the giant aquatic Brazilian centipede. Soon, monstrous beetles are whispering conspiracy theories in Bill's ears and his nebbish writer friends Hank (Nicholas Campbell) and Martin (Michael Zelniker) are sleeping with Joan under his nose. When a party trick involving a liquor glass and a gun goes awry, killing Joan, Bill flees to Interzone, a Mediterranean city full of talking insectoid typewriters, double agents, offbeat aesthetes, and plots within plots. As he navigates this paranoid landscape, Bill begins ingesting another drug called mugwump jism and writes fragments that Hank and Martin soon assemble into a novel under the title Naked Lunch. As beat literature aficionados know, Interzone is based on Tangiers -- the city where Burroughs wrote Naked Lunch. The incident in the film in which Hank and Martin appropriate Bill's writing and have it published closely approximates the real-life circumstances of the novel's publication, although it was Allen Ginsberg and Jack Kerouac who helped out the real-life Burroughs. The William Tell incident that kills Bill's wife is also drawn from the author's real life. "William Lee" is both Burroughs' literary stand-in and the name under which he published his first autobiographical novel Junky. Ian Holm, who plays Joan Frost's husband, Tom, would appear in Cronenberg's similarly experimental eXistenZ several years later. ~ Brian J. Dillard, All Movie Guide