Graham Fletcher-Cook Movies

Sky diver Clare (Ellen Barkin) wakes up disheveled and almost naked in Spain. She has left her husband Del (Martin Sheen) in Death Valley in order to find her former lover Augustine (Gabriel Byrne). She may have committed a murder, or it may all be fantasy. This film, directed by Mary Lambert is odd, confusing and sometimes downright laughable, full of preposterous plot twists and ridiculous symbolism. The plot makes little sense, and Lambert, while showing great visual style, has little concern for character or plot. It is never clear whether the mysterious visions that Claire experiences are memories or simply plot devices, and Clare's continued pursuit by a taxi driver with rusty teeth who keeps trying to rape her is ludicrous. Good performances by Barkin and Byrne, and a nice musical score by Miles Davis do nothing to save this pretentious, silly film. ~ Linda Rasmussen, Rovi

Richard Attenborough directed this dramatic story, based on actual events, about the friendship between two men struggling against apartheid in South Africa in the 1970s. Donald Woods (Kevin Kline) is a white liberal journalist in South Africa who begins to follow the activities of Stephen Biko (Denzel Washington), a courageous and outspoken black anti-apartheid activist. Woods and his wife Wendy (Penelope Wilton) get to know Biko, and they become friends, until Biko is brutally murdered at the hands of government troops in 1977 for his activities against the country's repression of the black majority population. Donald is shocked and appalled by Biko's murder and determined that the truth about Biko will become known to the world; eventually, Donald and Wendy Woods and their children must leave South Africa (and nearly everything they have) as they spread the word about Biko's life and death to ensure that he did not die in vain. Washington received an Academy Award nomination for his performance as Biko. ~ Mark Deming, Rovi

The rise of teen culture in 1950s Britain provides the backdrop for Julien Temple's unconventional rock musical Absolute Beginners. The film centers on Colin, an 18-year-old with a talent for photography and a fondness for the neon nightlife of British jazz clubs. He also is in love with Crepe Suzette, an impulsive, ambitious young beauty who abandons him after attracting the attention of a powerful fashion designer. Depressed and aimless, Colin turns for help to a flashy ad executive (David Bowie) who promises to make him a star photographer. The former lovers take parallel paths to success, capitalizing on the youth mania gripping the nation. The film's nostalgic yet gently satirical look at teen culture is tempered by a recognition of the era's social tension, particularly a disturbing rise in racism. Despite these serious undertones, however, the film tells its story with a colorful vibrancy reminiscent of both MTV and old Hollywood musicals, filled with such show-stopping numbers as a memorable sequence in which Bowie dances on a giant typewriter. Critical reception was mixed, with some hailing the film's spectacular cinematography and ambitious scope, while others found the mixture of tones and style too inconsistent. The film also drew lukewarm response at the box office, with the memorable soundtrack receiving more attention than the film itself. ~ Judd Blaise, Rovi

John Fowles' original novel The French Lieutenant's Woman was distinguished by a literary technique that involved telling a story of Victorian sexual and social oppression within the bounds of a 1970s viewpoint. How does one convey this time-frame dichotomy on film? The decision made by director Karel Reisz and Harold Pinter was to frame Fowles' basic plot within a "modern" context of their own making. While we watch as Sarah (Meryl Streep), a 19th-century Englishwoman ruined by an affair with a French lieutenant, enters into another disastrous relationship with principled young Charles (Jeremy Irons), we are constantly made aware that what we're seeing is only a film. This is done by surrounding the story with a modern narrative, focusing on a movie production company which is on location--filming The French Lieutenant's Woman. Meryl Streep doubles in the role of Sara and the American actress who plays her, while Jeremy Irons essays the dual role of Charles and the handsome Briton playing Charles. Likewise, everyone else in the cast is seen as "themselves" and as their French Lieutenant's Woman characters. Not surprisingly, the "real" Streep and Irons enter into an affair which closely parallels their characters' relationship. The commercial TV version of French Lieutenant's Woman eliminates 30 minutes' worth of "extraneous" scenes. ~ Hal Erickson, Rovi

The disarming comedy A Little Romance features Diane Lane as a 13-year-old American, living in Paris with her businessman stepfather (Arthur Hill) and her promiscuous mother (Sally Kellerman). Mom is currently enamored with pretentious-filmmaker David Dukes, and it is on the set of Dukes' latest picture that Lane meets another 13-year-old, insatiable French film buff Thelonious Bernard. A likeable street-smart petty thief and gambler, Bernard is instantly attracted to Lane. With the help of roguish old Laurence Olivier, Lane and Bernard arrange a romantic rendezvous under the Bridge of Sighs in Venice. Naturally, when the kids disappear it's a cause for international concern, but all ends as it should. Some of the best moments in A Little Romance belong to Broderick Crawford, unselfconsciously playing "himself" at a movie party. ~ Hal Erickson, Rovi