IN: Review: CRY FREEDOM is an excellent primer for those wanting an overview of apartheid's cruelty in just a couple of hours. Famed director Richard Attenborough (GANDHI) is certainly no stranger to the genre, and the collaboration of the real-life Mr. and Mrs. Woods, the main white characters in their book and in this film, lends further authenticity to CRY FREEDOM. The video now in release actually runs a little over 2 and a half hours since 23 minutes of extra footage was inserted to make it a two part TV miniseries after the film's initial theatrical release. While the added length serves to heighten the film's forgivable flaws: uneven character development and blanket stereotyping in particular, another possible flaw (the insistence on the white characters' fate over that of the African ones) may work out as a strength. Viewing CRYING FREEDOM as a politically and historically educational film (as I think it should, over its artistic merits), the story is one which black Africans know only too well, though the younger generation may now need to see it on film for full impact. It is the whites who have always been the film's and the book's target audience, hopefully driving them to change. Now twelve years after the movie's production, CRY FREEDOM is in many ways a more interesting film to watch. Almost ten years after black majority rule has been at least theorically in place, 1987's CRY FREEDOM's ideals remain by and large unrealized. It therefore remains as imperative as ever for white South Africans, particularly the younger ones who have only heard of these actions to see it, and absorb the film's messages. In total contrast to American slavery and the Jewish Holocaust's exposure, South Africans' struggles have been told by a mere two or three stories: CRY FREEDOM, CRY THE BELOVED COUNTRY (OK, Count it twice if you include the remake), and SARAFINA (did I miss one?). All three dramas also clumsily feature American and British actors in both the white and black roles. Not one South African actor has played a major role, white, coloured, Indian or Black!). And yes I did miss another international South African drama, MANDELA and DEKLERK. Though this (also highly recommended) biopic was released after black majority rule was instituted, MANDELA was played by a Black American (Sidney Poitier, who also starred in the original S.A.-themed CRY THE BELOVED COUNTRY), while the Afrikaner DeKlerk was played by a (bald) very British Michael Caine, a good performance if you can dismiss that the very essence of Afrikanerdom is vehement anti-British feelings. Until local SABC TV and African films start dealing with their own legacy, CRY FREEDOM is about as authentic as you'll get. As villified as the whites (particularly the Afrikaners) are portrayed in the film, any observant (non-casual) visitor to South Africa even now in 1999, not to mention 1977 when CRY FREEDOM takes place, will generally find white's attitudes towards blacks restrained, even understated. Looking at CRY FREEDOM in hindsight, it is amazing that reconciliation can take place at all, and it is. But CRY FREEDOM at time shows not much has really changed in many people's minds yet, and that the Black Africans' goal to FREEDOM and reconciliation is still ongoing. This is why if you're a novice to the situation, CRY FREEDOM, is your best introduction.
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OUT: positive

IN: Review: Now I don't hate cheap movies. I just don't see why you should waste any money for a movie you could shoot with your dad's camcorder. If I rent a movie, I want it to be a MOVIE, not a bunch of people thinking it would be a good idea to waste some MiniDV - Tapes.

Maybe I hate this one so much because the guy in the video store said it was great, and it wasn't. Maybe I hate it because it's cheap, has the dumbest plot EVER, the most unrealistic characters EVER and the really, really, really WORST SHOWDOWN in the history of films EVER. Even Tom Savini can't save this.

Seriously, this one is a complete waste of time.
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IN: Review: I saw this director's "Woman On The Beach" and could not understand the good to great reviews. This film is much like that one, two people who are caught in a relationship with very little dynamic and even less interest to anyone else. Like his other films, you have to want to listen to vacuous dialog, wade through very little and become enchanted with underwritten, pretty uninteresting characters. If you feel you can like this film, don't let my review stop you. I do like minimalism in films, but I feel Tsai Ming-Liang's films are far superior. He has a fairly terrific actor in Lee Kang-Sheng in his films. There is nothing here. I wish IU liked it, but I don't. Oh, well.
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IN: Review: This is one of the most overlooked gems Hollywood has ever produced. -- A young WWII British fighter ace whose plane is about to crash, has radio contact with a young American woman who comforts the brave pilot, knowing that within minutes he will be dead. For some reason the man who should certainly be dead walks away from the wreckage and eventually learns that he was meant to report to heaven. When a messanger is sent to ask the pilot to accompany him to heaven, the man refuses and demands to have his "day in court" to argue his case. The man argues that his situation had changed during the final moments of his earthly life, that he had fallen in love and therefor had become a different person, one who deserved a chance to live on.

The "heavenly court" is a cinematic delight! The "announcement of the jury of peers" is a definite highlight. The story, as fantastic as it seems, is an engaging one and will keep you spellbound for the nearly 2 hours play time. The final scene is simply beautiful and will require a "Kleenex treatment" for most viewers. This film is in my personal all-time favorite top 10, it has my highest recommendation!
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positive