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New Film Four & Film Four +1 06-07-08.
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New Film Four & Film Four +1 06-07-08. - 06-July-2008, 14:40

Film Four & Film Four +1 06-07-08.

Astra 2D at 28.2E 10729 V SYM:22000 FEC 5/6

Film Four SID8335 VPID2312 APID2313 Eng

Film Four +1 SID8330 VPID2332 APID2333 Eng

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Simply Irresistible
(1999) Sarah Michelle Gellar stars as Amanda Shelton, the worst cook in the world who gets bitten by a magical crab.Gellar takes time off from wasting vampires to star in this culinary romantic comedy. She plays a sprightly young thing who inherits a failing diner. Having been nipped by a mysterious crab, her magical concoctions attract a booming clientele and the attentions of hunk restaurateur Flanery. Pubescent boys go ga-ga over Gellar (she's second only to Britney as the most faked celebrity on internet porn sites), but then so do girls (for more wholesome reasons, obviously). Pencil cases around the world are daubed with her button-nosed visage, and this fairytale aims for the wannabes, hitting its target with calculated precision

(1947) Entertaining costume melodrama starring Margaret Lockwood as a young gypsy who rises from maid-of-all-work to mistress of the manor.Margaret Lockwood plays a social-climbing gypsy girl with the power of second sight in this Technicolor bodice-ripper from Gainsborough Pictures
Between 1943 and 1947, Gainsborough Pictures made a small number of hugely popular period costume melodramas. The predominantly female audiences of war-weary Britain lapped up the lusty escapism offered in films like The Man In Grey and The Wicked Lady, with the ostentatious elegance of their sets and costumes, unbridled passions and feisty heroines, invariably played by the studio's leading lady, Margaret Lockwood. Jassy was the last of the bunch. True to form it stars Lockwood in the title role as a headstrong gypsy on the make in the muck and mansions of nineteenth century England. Her mission is to avenge her father's death at the hands of bastard landlord Nick Helmar (Sydney), and restore his ill-begotten estate to its rightful owner, love-interest Barney Hatton (Walsh).
Hatton's father (Dennis Price) had lost the house to Helmar in a drunken game of cards before killing himself. Jassy's ambition is to marry nasty Nick, wait for the old soak to pop his clogs and bring Barney back home. It's a neat plan, but she has a long way to climb up the social ladder to get at Helmar, When we first meet her, she's about to be ducked as a witch by villagers suspicious of her second sight.

23 Paces to Baker Street
(1956) Thriller starring Van Johnson as a blind playwright who overhears a kidnapping plot.Van Johnson and Vera Miles star in this London-set mystery thriller about a blind playwright trying to solve a crime after overhearing it discussed. Henry Hathaway directs
Henry Hathaway stared out a child actor, before becoming a director of westerns in the 1930s then graduating to bigger budget films for Paramount and 20th Century-Fox. The mid-1940s were some of his most fertile years, with his output including such as classic noirs The House On 92nd Street, The Dark Corner and Kiss Of Death. He'd keep on turning out movies for three more decades (he directed John Wayne to his only Oscar win in 1969's True Grit). One of his lesser known but arguably best films was 23 Paces To Baker Street, a fairly modest American mystery thriller shot set in London and having nothing to do with Sherlock Holmes despite the title. With 23 Paces To Baker Street, Hathaway turned away from pure noir into more Hitch****ian territory, and indeed the film bears some comparison with Rear Window. In Hitch****'s film, James Stewart plays a photographer, debilitated by a broken leg, who gets embroiled in a mystery after witnessing incidents in the apartments opposite his own. Here, Van Johnson stars as a playwright debilitated by blindness, who gets embroiled in a mystery after overhearing part of a conversation.
The film's opening shots introduce one of its greatest strengths and pleasures - that 1950s London setting. A slow pan takes in the Thames and Waterloo Bridge with traffic pouring over and under it. It's dawn and the river is shrouded in orange-tinged mist, ably captured by the veteran cinematographer Milton R Krasner. The pan ends at the flat of playwright Philip Hannon. He has an amazing view but can't enjoy it. Instead, he describes it bitterly to Jean (Miles), the fiance he abandoned after "it happened". She gently chides him for sounding bitter, to which he replies "Bitter? Me? I'm a successful playwright who's just had a hit, a big hit. What have I got to be bitter about? I'm alright as long as people leave me alone." He then storms out - as fast as a recently blinded man can - to go to the pub.

Bugsy Malone
(1976) Alan Parker's musical is set in the world of 30s gangsters - but with all the roles played by children.Jodie Foster and Scott Baio get pie-eyed in Alan Parker's 1976 underage gangster musical
Bugsy Malone Drive-by shootings, gang warfare, gun crime and lethal saturated fats - Alan Parker's kiddie gangster pastiche might have been tailor-made to exorcise the twenty-first century 'Daily Mail', yet when it was released in 1976 critics decided it was too cute for school. They knew nothing. Parker's feature debut, described by the director as the work of a madman, is an audacious parody of Prohibition-era pulp fiction that throws gravel in the face of bonnet-wearing 1970s British children's dramas like The Railway Children by refusing to accept it's a kids' film at all. In a plot that wouldn't fill the first chapter of a dime store pulp thriller, Bugsy Malone (Baio) is the genial scamster recruited by bar owner Fat Sam (Cassisi) to help in the war with Dandy Dan (Lev) and his gang, who have come up with a lethal new custard pie delivery system, the splurge gun. Bugsy steals the heart of wannabe starlet Blousey Brown (Dugger), but pouting in the shadows is the almost-inappropriately seductive singer Tallulah (Foster - fresh, if that's the word, from Taxi Driver).

The Italian Job
(2003) A group of crooks plan to steal a gold shipment from the middle of an LA traffic jam. Action movie remake of the much-loved British film.A group of crooks plan to steal a gold shipment from the middle of an LA traffic jam. Action movie remake of the much-loved British film, with Mark Wahlberg in the Mini's driving seat
The Italian Job Everyone expected this to be rubbish. After all, Hollywood's track record in remakes of Michael Caine classics isn't exactly glowing (anyone fancy watching the Sylvester Stallone Get Carter?). But, for once, 'everyone' was wrong - the The Italian Job remake may be different, but in its own way it's almost as much fun as the 1969 original.Let's look at the differences first. The original version saw a group of ****ernee crims heading off to Turin to nick a gold shipment out from under the noses of the Italian authorities. This one sets its gold robbery in LA, but justifies the title by holding an earlier heist in the middle of Venice (cue a boat chase down the canals to supplement the Mini action later on in the film). There, old master crook John Bridger (Sutherland) comes a cropper when his team - led by Mark Wahlberg's Charlie Croker - are betrayed by one of their own, namely Edward Norton's shifty Steve. The film then hinges on their search for revenge against him and their plans to steal back the stolen cash that he stole from them. Or something like that.

(1968) Steve McQueen stars in this classic gritty drama as a San Francisco cop determined to find the killer of a witness in his care.The star power of Steve McQueen lends this gritty, San Francisco cop movie iconic status
Bullitt Bullitt is one those films that's so iconic you may feel you've already seen it, even if you haven't. That's largely because the image of Steve McQueen driving his car over the hilly streets of San Francisco has been referenced or parodied thousands of times. And yet Bullitt is very much a product of its time, and of McQueen's acting style. It is terse to the point of grumpiness, and it's not just because the characters speak so rarely - the action has a similarly cold, hard feel. Indeed Bullitt set the tone for The French Connection, which also gives you the thrill of being in a speeding car but with a puritan edge. It's a universe away from the easy big bangs of a Michael Bay film, and much closer to Jean-Pierre Melville's moody - even miserable - crime movies.
The big shock at the time was that McQueen was playing a cop. While a maverick, he's no anti-cop like Serpico, but with his cropped hair, he certainly looks like a grimly authoritarian figure. However, McQueen is also pure movie star: always looking right, and never disappearing into the part. And that's fine, because no-one wanted him to.

Dr T and the Women
(2000) Richard Gere is a top gynaecologist, happily married to Farrah Fawcett and looking forward to the wedding of his daughter Kate Hudson.Robert Altman's satire on Dallas society focuses on a successful gynaecologist and the woman in his life. Richard Gere, Helen Hunt, Farrah Fawcett and Kate Hudson star
Dr T & The Women A successful, handsome gynaecologist, Dr Sully Travis (Richard Gere) adores women, reckoning that "they are sacred creatures and should be treated as such". The ladies in his life however are proving quite a burden. His wife (Fawcett) has been placed in a local psychiatric clinic. His alcoholic sister-in-law (Dern) has pitched up with her three kids, and his cheerleading elder daughter Dee Dee (Hudson) is planning a costly wedding, though her true romantic affections lie with the maid of honour (Tyler). Striking up a friendship with the new country club golf pro (Hunt), Dr T contemplates an extra-marital affair which he hopes might offer respite from the demands of his patients and staff.


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