Myriam Cyr Movies

Diane Doniol-Valcroze and Arthur Flam debut with this noirish psychological thriller about an obsessive tailor, recalling the works of David Lynch and The Quay Brothers. Thomas (Emmanuel Salinger) is an anxious young tailor eager to please his clients and his overly critical father. Previous mistakes have made Thomas supremely conscious of measuring fabric properly. Just before the annual ball, Thomas's neurosis boils over into madness, resulting in murder. This film was screened at the 1999 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

In the science-fiction thriller Species (1995), Natasha Hentsridge appeared as the beautiful but deadly Sil, a human-alien DNA combo. In this sequel, Hentsridge portrays Eve, a government experiment concocted to gain an understanding of how to combat future aliens, while Michael Madsen and Marg Helgenberger repeat their roles from the earlier film. When astronaut Patrick Ross (Justin Lazard) returns from the first manned Mars expedition, he's infected with the same DNA that spawned Sil and Eve. Hailed as a hero, Ross is pressed into politics by his father (James Cromwell), a senator. Any woman who beds the sexually active Ross is immediately impregnated, with embryos quickly developing and killing the mother. Ross hides the offspring on a family estate, as LA cops begin to detect a pattern in the female deaths. At the lab where scientists are monitoring Eve, Dr. Laura Baker (Helgenberger) realizes that Eve has a telepathic link with Ross, and that these two hybrids hope to couple. Press Lennox (Madsen) and Colonel Burgess (George Dzundza) figure Eve can be used to lead them to Ross. Cleared as a murder suspect, Mars mission astronaut Dennis Gamble (Mykelti Williamson), joins Lennox and Baker and gets in on the action as everyone involved closes in on Ross. Richard Belzer does a cameo as the President of the U.S., while Peter Boyle makes an uncredited appearance as a scientist. ~ Bhob Stewart, All Movie Guide

Set in a tiny Mojave desert town, this Canadian children's tale centers on Earl Williams, a 12-year-old boy obsessed with the notion of bringing back Frankenstein from the dead. Earl loves horror and frequently draws chilling pictures in class, something that gets him in trouble with his super-strict teacher Mrs. Perdue. Earl's father is a failed Hollywood actor and much of the boy's dreaminess comes from him. Earl gets a chance to enact his dream on Halloween night just after the police bring him and his buddy back home after catching them trying to sneak in to the drive-in to watch Night of the Living Dead. As soon as they can, the boys sneak out to a traveling carnival where they try to break into the House of Mysteries to investigate the "actual authentic Frankenstein's Monster" said to reside within. The next day the carnival heads to a new town, but as one truck pulls away, the monster falls out and is left in the road. Earl finds it and spends the rest of the picture trying to bring it back to life. ~ Sandra Brennan, All Movie Guide

A chase forms the basis of this Hitchcockian comedy thriller from Great Britain. Petty con-man Johnny Ryan makes a scant living playing three-card Monte on the streets of Bath. At the same time, Beatrice Baxter, a drug runner learns that she has a terminal illness and will die in six months. She decides she will go out with a bang and steals two million pounds from her dealers. While hiding out in a posh hotel, she involves herself with Johnny who is on the lam from the cops. Later the girl leaves him and takes off with Jennifer. Beatrice does this so she can set Jennifer up to replace her when the boys from the drug cartel come. But Jennifer is no fool and does a switcheroo of her own. She and Johnny leave Beatrice, whom they think is dead, and hightail it out of town with the police and the crooks in hot pursuit. Mayhem ensues. ~ Sandra Brennan, All Movie Guide

Legendary low-budget mogul Roger Corman made a somewhat inauspicious return to the director's chair for the first time in nearly twenty years (unless one counts his uncredited participation in "pickup" shoots for several New World Pictures productions) for this quaint sci-fi/horror outing, based on the popular novel by Brian Aldiss. Opening in the year 2031, the story begins with scientist Joseph Buchanan (John Hurt) working on a top-secret military project that creates a rift in time in space, hurtling him and his ultra-high-tech hotrod backwards through time to the early 19th century. Buchanan manages to adapt quite well to his new surroundings, particularly after making the acquaintance of fellow scientist Baron Frankenstein (Raul Julia). Curiously, the Baron is presented here as an authentic historical figure, and his monster-making efforts the basis for the famed book by Mary Shelley (Bridget Fonda), which was a work of fiction. After ruminating about his situation with Mary and her future husband Percy Shelley (late INXS frontman Michael Hutchence) at the villa of mad poet Lord Byron (Jason Patric), Buchanan is approached by the Baron to help construct a mate for his intelligent but homicidal creature (Nick Brimble). Unfortunately, things do not go according to plan, leading to an ironic denouement that finds Buchanan pondering the apocalyptic results of his life's work. The film boasts solid production values and some beautiful location photography (most of the film was shot in Italy); however, the classy look and high-profile casting can't disguise the overall feel of an early New World outing, albeit with a much larger budget. The script, adapted by Corman and writer F.X. Feeney, eliminates many of the novel's intellectual twists and turns; much of the remaining dialogue comes off as merely pretentious. ~ Cavett Binion, All Movie Guide

Set in the 1960s this comedy, based on the autobiographical novel of the same title by Haitian author Dany Laferriere this comedy centers on the sexploits of an aspiring African writer living in Montreal. When not clacking away on his novel (same as the title), he is out picking up white women from the local cafes. Known only as "Man," his women remain similarly anonymous, though he does ascribe them names based on the qualities he uses to differentiate them. "Miz Literature" is his main squeeze. The whole idea behind the film is to take a deeper look at racial stereotypes. Unfortunately it only succeeds in leeringly reinforcing them. The title of this film generated considerable controversy in the US. Many major newspapers refused to run the complete title, opting for ellipsis or publishing it in French. The NAACP lobbied unsuccessfully to have the name changed and some theaters refused to show the film. ~ Sandra Brennan, All Movie Guide

Director Ken Russell applies his trademark excess to this surreal, experimental examination of the creative dementia which shaped Mary Wollstonecraft Shelley's Frankenstein. The story is embellished from events which allegedly took place at the Swiss villa of Lord Byron (Gabriel Byrne) on the night of June 16, 1816. Byron's guests include poet Percy Shelley (Julian Sands) and his future wife Mary (Natasha Richardson); Mary's half-sister Claire (Myriam Cyr) and Byron's leech-happy personal physician Dr. John Polidori (Timothy Spall). Byron promises them a night of horror like only a mad poet can deliver -- after partaking of laudanum and other hallucinogens, the guests tell ghost stories while exploring the dark corridors of his home. From here, Russell dives headlong into madness, discarding plot structure in favor of fever-dream setpieces in which the guests confront living manifestations of their own fears and insecurities -- creative, mortal and sexual, among others. The raging Romantics are also given to lengthy discourse on the nature of fear and the fine line between creative genius and insanity; by the film's end, viewers may find themselves wondering the same thing about the director. Those who may prefer a more subdued speculation on the same theme should seek out Ivan Passer's Haunted Summer. ~ Cavett Binion, All Movie Guide