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CANNES DEMISE CALLS UP ^^1/2 Staniug Tim Daly. Directed and written by Hal Saliven. Produced by J. Todd Harris. In Cannes' Critics Week. No distributor set. Comedy. Not yet rated. Running time: 79 niin. A film that's literally talking headsscene after scene of people engaging in phone conversations — comes with a built-in uh-oh factor, but "Denise Calls Up" is, if limited, a surprising success. The phonecord-tangled storyline pairs off three twosomes: an ex-boyfriend ("Year of the Comet's" Tim Daly) and ex-girlfriend (Dana Wheeler Nicholson) trying to arrange a blind date between two of their single friends (Liev Schrieber and Caroleen Feeney), plus a pregnant woman (Alanna Ubach as the titular Denise) who's telephonically tracked down the man (Dan Gunther) who provided her sperm-bank donation. The conceit of this Davis Entertainment/Skyline Partners effort— that these New Yorkers are too busy in their workat-home schedules to ever meet in person—gives them a certain loonybin aura and undercuts writer/director Harold Salwen's serious interest in these emblems of today's angst. But the players bring to life a script that could've seemed scholastic, and Salwen keeps onscreen happenings interesting with numerous quick cuts and, at the end, one perfectly restful frame.— Ki'w Williamson RUDE ***1/2 Starring Maurice Dean Wint, Rachel Crawford and Clark Johnson. Directed and written by Clement Virgo. Produced by Damon D'Olivcira and Karen A. King. In Cannes' Un Certain Regard. No distributor set. Drama. Not yet rated. Running time: 90 min. Clement Virgo's feature debut is startling and powerful, fulfilling the promise of his award-winning 1993 short, "Save My Last Nigga' Soul." As a pirate radio DJ broadcasts to Toronto, various characters reach turning points in their lives. Maxine (Rachel Crawford) has been brutally dumped by her boyfriend after revealing she was having an abortion. Jordan (Richard Chevolleau) is a boxer whose participation in a gay bashing makes him examine his hidden homosexuality. And "the General" (Maurice Dean Wint) has left jail and is trying to reconcile with his loan-shark brother Reece (Clark Johnson), policewoman wife Jessica (Melanie NichoUs-King) and young son. Though Virgo interweaves the three stories, their characters never meet. It's a mark of his skill that "Rude" never falters; each tale is compelling, and none ends in an expected way. His structure also lets Virgo tackle numerous themes, including black perceptions and stereotypes of law enforcement, male/female relations, family responsibility and, most impressively, black homophobia. REVIEWS At times, "Rude" betrays a fondness for style over content; there are a few too many gorgeous shots of clouds moving over the city and pixelated visions of Toronto traffic. But there's also an exhilaration in every frame, coming from a director who can make his film look great (also courtesy of cinematographer Barry Stone) and move fast. "Rude" is one confident piece of work, and well acted to boot. It might not be quite as personal as "Soul Survivor" (p. R-56), by the other Toronto-based Jamaican filmmaker represented at Cannes, but Virgo's is the far stronger. —S/i/oMio Schwartzberg THE POISON TASTERS ^1/2 Stamng Fiench Stewart, Karolina Rosinska, Veerlund Tliomas Bierce and Aga Lange. Directed by Vlrik Tlieer. Written by Veerlund Tliomas Bierce. Pioduced by Hong Ting and Veerlund Thomas Bierce. In Cannes' Ihi Certain Regard. No distributor set. Drama. Not yet rated. Running time: 90 min. Shot in black and white, this exercise in Kafkaesque territory might rival even the most pretentious of the European entries at this year's Cannes (and that's saying quite a lot). Set in a small Lodz apartment on the eve of Nazi Germany's 1939 blitzkrieg into Poland, this Basilik Films production focuses on the relationship between two men— an angst-ridden moralist, Crawford (French Stewart), and a cynical amoralist, Georg (Veerlund Thomas Bierce)— who yap and stammer about ethics, morality, heroism, integrity, anarchy, loyalty and an assortment of other philosophical meanderings that seem unlikely to occur to people on the verge of hostile occupation. While Georg is indulging his sexual insatiability with the landlady's daughter, Crawford tmds more virtuous solace in the friendship of Anna, a young Jewish girl whose fleeing family has sought shelter in their flat. By day's end, Crawford and Anna have fallen in love and married, at which time Crawford confides his and Georg's "secret." Unfortunately, this "Twilight Zone-ish" secret is patently ridiculous, making the rest of the film even more unnerving than it might have been with a halfway sensible conclusion. Faced with the daunting task of having to dig themselves out of their overwrought nightmare, the filmmakers decide to go the madness route, wherein everyone goes bonkers and the audience is left scratching their heads over the purposelessness of it all. Most of the blame lies with co-star/producer/screenwriter Bierce, whose triple credit can't begin to indicate the apparent extent of his self-absorption. First-time director Ulrik Theer might well be the only one to emerge relatively unscathed from the mess, proving himself an able and commanding stylist when confined to tight spaces. — Wade Major SCREEN CLEANING "STREAK FREE" WITH THE OPTI-KLEAN SYSTEM EASILY APPLIED REMOVES • SMOKE RESIDUE • SCREEN GRIME • CANDY AND SYRUP STAINS FOR FURTHER INFORMATION WRITE P.O. Box 3216 Riverside, CA 92519 or call (909) 681-0977 Response No 82 Call Sharon, S
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