After Return of the Jedi was released back in May1983, its creator and founding father of the Star Wars series, George Lucas, ensured his audience that his films would never see a release on video. He obviously changed his mind in 1997 when he decided to release Episodes IV-VI in new, digitally-rendered versions, initially in cinemas (providing the perfect opportunity to see Lucas’s magnus opus on a the big screen) and later on VHS. This was immediately followed by Lucas remarking that this was the last time the series would be commercially available, let alone in the old version. If we learned one lesson from the commercial release of the Star Wars saga then it is never to believe George Lucas. Because: voilà! Behold the very first DVD release of ‘the old’ Star Wars.
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Ben Stiller seems to go for the title of hardest working man in comedy: with this movie he is setting the score for almost 5 cinematic releases in one year. Not only was he a lead in this comedy, he was also a producer. He also made sure he took the funniest role this film had to offer: that of the narcissistic and pitiable White Goodman. Stiller is nothing short of hilarious in this role (and less annoying than I usually find him) next to some other funny roles, of which some very funny cameos.

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It is interesting to see that Cruise tries to go for more diverse roles in the second half of his career. He took a risk with his excellent role in Magnolia where he played a male-chauvinist prick with some serious ‘daddy issues’. He also subjected himself to Stanley Kubrick’s mad genius in Eyes Wide Shut, where he was a bland barrister scavenging the London streets for kicks. In this new Michael Mann movie he once more takes on a role that is a far cry from his usual repertoire. Cruise plays a hardened contract killer on the loose in L.A. where he holds cabdriver Max (Jamie Foxx) hostage to drive him around to his targets. The atmosphere is dark en brooding, the tension is gradually building and Cruise delivers a surprisingly good performance.

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This is where to go to meet actors from cult movies and TV series, get their autographs and pose with them for the camera.

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Screenplays written by Charlie Kaufman, in most cases, provide a stunning and original story (such as Being John Malkovich, Adaptation). Music videos by Michel Gondry (Chemical Brothers, Björk) sort of end up with similar standards. How about combining the two of them? They have done so with Human Nature, although with not much success (so I was told; I haven’t seen it). But the two of them made up for the failure of Gondry’s (motion picture) directing debut with Eternal Sunshine of the Spotless Mind. Although not an easy ride, this one will leave you puzzled for a few hours afterwards. In a good way.
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Though not at the peak of his career anymore, I still look out for whatever new movie Steven Spielberg is releasing. I found his last three movies (AI, Minority Report and Catch Me If You Can ) rather enjoyable. His latest, The Terminal is another one starring Tom Hanks (after Saving Private Ryan and Catch Me). Although Hanks rehashes his solitary scenes from Cast Away, he was the only person who could either make or break this film. He made it.
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Attention animation fans! In Amsterdam (NL) there is a new regular evening of this often under valued art form. Filmhuis Cavia is one of those alternative film theaters which works with volunteers and has a certain quirky charm about it. On the 3rd Friday of every month will be a program of animation. So make a note in your appointment book for the following dates
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Question: When is a happy end not a happy end? The answer to this riddle is revealed in this moving drama, Gegen Die Wand (2004). This German/Turkish co-production tells a truly modern story about two people who no longer want to live and yet by their meeting find life and new hope. OK, I know that sounds really mushy, but Gegen Die Wand is anything but… With a brilliant soundtrack and passionate performances, this film delivers a gripping tale of two star crossed lovers….
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Michael Moore has decided not to enter his controversial documentary Fahrenheit 9/11 for the Best Documentary Oscar. He hopes to have his documentary aired on national television just before the US elections, in order to sway the voter’s choice in favour of the Democrat candidate John Kerry.

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After the hit-movie The Bourne Identity -where Matt Damon proved sceptics wrong on whether he could carry the role of an international spy and professional killer- this sequel is based on another Robert Ludlum story. The first movie created a lot of mystery around the past of the elite spy and his true identity and I was eager to learn more about him. Here, we find again that great ‘Euro’-atmosphere and the subdued demeanour of Jason Bourne, but we don’t get to learn that much more about him.

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