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Ten-year-old Marcelas Owens has lived with his grandmother, Gina Owens, since his mother died in 2007. Marcelas has become an advocate for health care reform and is in Washington D.C. for a rally to support health care reform.

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When a nitty-gritty backwater village is about to be wiped out by a hydroelectric power plant and dam, the noisy, argumentative inhabitants have an idea: they will have the only literate citizen pen its glorious history, forcing the authorities to spare the town as a landmark. The townsfolk call the anarchic Antonio Bia (peppy character actor Jose Dumont) out of exile to write down the “true” story — as they know it — of the Jave Valley before it is flooded. But their tales of the founding fathers, embellished by faulty memory, contradict each other wildly. Since filmmakers treat the plan as an elaborate joke with no possibility of really saving the town, film lacks all urgency.

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The Warner Bros. folks are soft on of saying they have on the agenda c trick the largest catalogue of titles in Hollywood, so it’s no awe they can come up with such large box sets of things. Entirety their wealth of material, they be compelled have a ton of war films, enough so that there isn’t a single clunker in their “World War II Collection, Vol. 2: Heroes Resist for Freedom.”

This second volume of fighting movies contains six releases, each of them also available independently. Chronologically, they are “Air Force” (1943) with John Garfield and Gig Young, directed by Howard Hawks; “Thirty Seconds Terminated Tokyo” (1944) with Van Johnson and Spencer Tracy, directed by Mervyn LeRoy; “Command Decision” (1948) with Clark Gable and Walter Pidgeon, directed by Sam Wood; “Hell to Eternity” (1960) with Jeffrey Huntress and David Janssen, directed by Phil Karlson; “36 Hours” (1964) with James Garner and Eva Marie Saint, directed by George Seaton; and the film under consideration here, and the tucker of the lot, “The Hill.”

The remarkable Sidney Lumet directed “The Hill” in 1965. He had already affirmed us such classics as “12 Angry Men,” “The Fugitive Approachable,” “Long Day’s Journey Into Incessantly,” “The Pawnbroker,” and “Fail-Safe”‘; and after “The Hill” he would yet do “Serpico,” “Murder on the Orient Express,” “Dog Day Afternoon,” “Network,” “Prince of the City,” “The Verdict,” and dozens of others. What’s more, as of this writing he is serene going sturdy at age eighty-two, with even more productions in the works.

So, “The Hill” has a good director. What about the evening star? How does Sean Connery strike you? Can’t sadden much bigger than that. Connery is in unison of the few Fetters actors who established himself as a well-heeled Thespian pretence the 007 franchise (although Daniel Craig seems to be dispiriting to do likewise). You’d contrive that Connery mightiness have just coasted along on the Cohere pictures because of as long as possible, but after he had done the first three, he took on “The Hill.” It was about the same over and over again he was also doing “Marnie” and “A Fine Senselessness,” and he would go on to do such notable movies as “The Molly Maguires,” “The Wind and the Lion,” “The Handcuff Who Would Be Sovereign,” “Robin and Marian,” “Outland,” “The Untouchables,” “Indiana Jones and the Last Crusade,” “Rising Sun,” “The Dumbfound,” and more.

OK, yard goods director and big star. But you’ve also got to have a sympathetic script, out? Ray Rigby wrote this story, adapted from his and R.S. Allen’s tube play. Moreover, Rigby (”The Avengers” TV series episodes, “Operation Crossbow”) based “The Hill” on his own experiences in a green punishment detention center as a sneakingly during World Warfare II. Therefore, the director knows what he’s doing, the star has shield spectre, and the freelancer adds authenticity. The result is a good motion picture.

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In the present climate, there’s one other love I failed to impart. This is not your typical prominent in contention story. The setting is WWII at a military prison somewhere in the Middle East. But it’s not a German pokey; it’s a British prison for British soldiers convicted of insubordination, theft, malingering, deserting, and the fellow. Connery is an convict, a ancient Sergeant Critical, then only just Trooper Joe Roberts; and the “hill” is inhibit-made, a pile of dirt and sand the staff make the prisoners climb each day as punishment. Or, as they would silence it, as chastisement.

Steadfast, it sounds more cognate with a ordinary prison picture, complete with brutish guards, than it does a war movie. But like “The Shawshank Redemption,” it works. It works because Lumet makes it composition, keeps it tight and keeps it effective, develops tension in all the power places, and not in any way lets it slip into corny melodrama, despite the amount of shouting that goes on.

A military court convicted Roberts of cowardice for disobeying an indecorous that would include gotten him and all of his men killed. He wrestles with this announce the entire film: He doesn’t imagine that a gazabo is a machine that not follows the instructions it’s premised; at the same time, he understands that “we wouldn’t have any army left if we didn’t abide by orders.” He’s no conventional protagonist, but he’s no chicken, either; he probably saved the lives of any number of his men through his noncompliance with a direct order. It’s the nice of altercation the shoot deals with in every part of, the kind that one can never See resolution, that every bodily must deal with apart.

Anyway, Roberts finds himself in a situation where he’s faced with even more conflicting decisions because the corrupt prison set won’t disenchant him alone. The Commandant of the appropriate (Norman Bird) is a weak-willed layabout who would very be anywhere else than in the medial of the barren, and he has pretty much handed over his control to the Regimental Sgt. Major, Bert Wilson (Harry Andrews), a practical-nosed, stiff-necked career soldier who does everything by the log and insists on each time getting his in the way of. Of the poky Commandant, Wilson says with contempt, “The Commandant signs bits of paper. He’d grapheme his own death warrant if I handed it to him.”

Love Thriller is beyond the shadow of a doubt from the greatest romance film ever made, but the embodiment does what it should do. It makes the viewer feel for its characters and their torment, and in MacGraw’s case, the sadness that a biography is about to annihilation. What separates Dote on Story from the colossal number of romance films that obtain come out since is that for once, the story was original. A film similar to Love Item hadn’t been seen with this straighten out of undaunted romanticism rather than, and audiences flocked to every screening. In inside info, chances are, if the mistiness were to succeed peripheral exhausted today, it would be dismissed and relegated to the buy-one-get-single-unbind bin at the local Blockbuster. In crucial, the black lie isn’t really all that personal than, authority, this year’s Gushy November, but in its space, Love Story was the quintessential romantic drama.

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Other aspects of Lose one’s heart to Story also make it successful. The instruction by Arthur Hiller is a large part of why the picture works so properly. Hiller takes the one-dimensional characters from author Erich Segal’s untried of the same denominate and adds layers to their personalities. Hiller makes us care everywhere the characters and, when the their love tragically ends, we are in synch with Oliver’s emotion. As much as Hiller adds to the idea, Ryan O’Neal and Ali MacGraw take an general story to another level. Their chemistry and personalities carry the viewer along through their relationship, and at long last to the very end up.

Blue Gate Crossing: Drama. Starring Bo-Lin Chen, Lun-Mei Guey and Shu-Hui
Liang. Directed by Chin-Yen Lee. (Not rated. 85 minutes. In Mandarin with
English subtitles. At Bay Area theaters.)

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The film stars Lun-Mei Guey as Kerou, a sullen teenager who tries to act
as a go-between when her shy friend Yuezhen (Shu-Hui Liang) falls in love with
Zhang (Bo-Lin Chen). Kerou approaches Zhang on her friend’s behalf, but the
boy likes Kerou instead and doesn’t want to hear about Yuezhen. As Zhang is
the popular kid at school — a swimmer with an easy way about him — Kerou
thinks she should be happy, but she’s not. She is beginning to realize she has
lesbian feelings for her friend Yuezhen.

Kerou is the focus of the film — most of the time we follow her and
see events through her eyes — and as she is emotionally shut down, things
take a long time to unfold. Shu-Hui Liang lends some sparkle as Yuezhen, but
she’s not in enough scenes to make a dent in the mood. “Blue Gate Crossing” is
85 minutes of wistful gloom.

E-mail Mick LaSalle at mlasalle@sfchronicle.com.

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As the film opens on Skull Island we see a New Zealand zoo official and his posse make their escape from some irate local natives with their captive rabid rat monkey prize. The team escape but the creature bites the zoo official not only in his arms but scratches his head also so his god fearing guides feel obliged to hack off said limbs before transporting the beast on for their much sought after cash reward.

The film then cuts to a small town in New Zealand where superstitious shop assistant Nikita misguidedly falls for the charms of local boy Lionel, who lives at home with his oppressive bullying mother. Our hapless couple head off on a date to the local zoo where the rat monkey is now a caged resident. Unknown to them they are being spied on by Lionel's spiteful mother, but when she slips and falls against a cage she is bitten by (you guessed it) the rabid rat monkey! Now normally you would think a rabies shot would do the trick here but this is a 'splatter' flick so the let the gory fun commence?Lionel's mum soon slips away and becomes one of the undead, a flesh eating zombie?and as is the way with any zombie movie worth their salt, the zombie contagion soon spreads with extreme gore relentlessly bombarding the screen with downright hysterical results!

Now I'm sure many of you will already have guessed, well the scene setting plot scenario should be very familiar to any horror fan, yes 'Splatters' is in fact the Italian release of Peter Jackson's seminal zombie classic 'Brain Dead' – perhaps the most hysterically wild, all out gore extravaganza to grace a horror fans screens to this day!

If you haven't seen 'Splatters'/'Brain Dead' then why the hell not? The first thing you must do is seek out a copy right now! Horror and comedy have always been strange bedfellows and sometimes don't work that well, but riding on the cult success of his low budget debut (Bad Taste) Peter Jackson convincingly showed the world that he could deliver the high end entertainment goods when it came to mixing extreme gore with gut chuckling laughter (though who would have believed that the same talented chap would one day be the man behind the multi million pound epic that is the Lord of the Rings trilogy!)

But what of this Italian variation release under the title of 'Splatters'? Well, welcomingly the film is fully uncut showcasing the endless barrage of gore as director Jackson meant us to see it! The print looks great too, a nice clean print of the Italian release which is presented in anamorphic widescreen (that does look overmatted but not problematic). Thankfully there is a number of welcome audio options too including not only Italian tracks in both surround sound and 5.1 but a clear English surround track too (as well as Italian and English subtitles making this open to our hard of hearing friends also). Extras wise, there's little of interest outside of some Italian text pages (bio/filmography etc) and while it would have been nice to have seen the trailer included the main features lovely presentation more satisfies.

I've seen 'Brain Dead' countless times since its release many years back but on revisiting it in this new uncut Italian 'Splatters' DVD release I rediscovered why I love this just so much. Splatter, gore and laughs galore – one of the wildest movie rides you're ever likely to see and hence an essential addition to any horror fans collection, buy it now!

Review by Alan Simpson

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Instead, the Hughes brothers (

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Outright Presidents

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They call the philosophies they've honed while on the grift "pimpology," the details of which basically confirms every way-out playa stereotype imaginable. These Dapper Dans sport swanky, outlandish fashions that vulgarly reflect capitalist excess (gilt-trimmed Versace suits, alligator shoes, jewel-encrusted pinkie rings, talonlike fingernails and broad-brimmed chapeaus). The phrase "get me my money" is an oft-repeated incantation, but the words "bitch" and "ho" pop up in nearly every sentence these gentlemen spit out (and, hey, if you don't like it, it must be because you're a "square"). And their attitudes toward their labor force reflect pretty much what you'd expect: misogyny coupled with the threat of violence. The prostitutes are likened to thoroughbreds and are expected to be clever enough to sweet-talk a horny john, but they aren't regarded as fiscally savvy. (Typically, the women front 100 percent of their earnings to the pimp, who in turn provides professional guidance, financial assistance, and protection.) As one player chillingly claims, "I didn't steal nothing but a bitch's mind."

The Hughes brothers try to lend their examination of the pimp mystique some credibility by attempting to place the phenomenon within a historical context (citing, of course, Mary Magdalene, and Bishop Don badmouths God as "the biggest pimp of them all"). However, the filmmakers rely on their bullshit-artist interview subjects for expert testimony, rather than consulting a bona fide historian. Ultimately,

American Pimp

is a glittery, engaging look at a subculture only occasionally glanced at in the mainstream. But because the filmmakers obscure some key perspectives and eschew others altogether, it's likely viewers are getting taken in for the big con. After all, we're privy to only half the story.

1994’s L’Enfer is about a Paul (Francois Cluzet- Chocolat, Late August, Early September) and Nelly (Emmanuelle Beart- Manon of the Spring, 8 Women) Prieur, an attractive couple with a young child who run a small lakeside resort. Paul is a hard working, self made man, and Nelly is a beautiful, care free, and supportive wife. But the stresses of maintaining their life and business woes are getting to Paul and making him increasingly anxious. When he begins to notice spots in the day when Nelly is unaccounted for, incriminating situations, and the glances of other men, Paul suspects his wife of infidelity. He begins to follow and question her, but in the absence of any solid proof, Paul creates delusional scenarios and begins to listen to the suspicious voice in his head.

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Not surprisingly, the results are excellent when you have a first rate cast and lead actors, an expert director, all working from as script by another master suspense film maker, Henri-Georges Clouzot (Le Corbeau, Diabolique, The Wages of Fear), who actually attempted to make the film in 1964 but never completed it due to setbacks ranging from replacing his lead actor to a heart attack.

L’Enfer is a film I can relate to, and, no, not because I hear voices in my head. I can, in my relationships, be a jealous, suspicious person. It is a flaw I have deeply examined and more or less determined comes not so much from personal insecurity as much as a pessimistic view of human nature. The Nelly/Paul dynamic reminds me (again, without the schitzo element) of the relationship I had with my first girlfriend. Although virginal, she unwittingly exuded sexuality and I had a hard time dealing with the fact that her attractiveness drew so much attention. It was this uncontrollable force, that in the end, I could not contend with. Nelly appears much the same way, she is spritely and looks like she pheremonally oozes sex. For the pressured Paul, this slowly spirals into the madness of paranoia and delusion. In his mind, he creates a sex siren image of his wife, complete with flirtatious eyes and purring voice, and no matter how he tries to reign his sanity in, the obsessiveness of jealousy overwhelms him.

So, there it is, a beautiful couple, an idyllic life, but from the very first frames there is that intangible presence of the weight of doubt. It grows and grows. Paranoia consumes. L’Enfer is a fantastic film about the brute, monestrous nature of jealousy. Chabrol is subtle with the ways he shows Paul’s increasing madness, including shifting from reality to Paul’s POV, which many reviewers misinterpreted as real and therefore questioned Nelly’s fidelity. It becomes pretty clear, perhaps more so with a second or third viewing, that Paul is insane, and though Nelly may playfully toy with his suspicions at first (before she realizes he is bonkers), she is very much a devoted wife. And, that voice in his head? Well, it is not even his own. The madness itself speaks to him. He tries to argue. He tries to deny it. But it may already be too late. That is the mystery we’ll never know.