Videos
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.The Tango Lesson (PG). In her follow-up to Orlando, Sally Potter plays a solemn film-maker called Sally Potter who becomes involved with a suave tango dancer (Pablo Veron, playing himself). She makes him an offer: she'll let him star in her next movie if he teaches her the tango. As defiantly self- involved as it is, this film is considerably more than a vanity production - the director's narcisstic tendencies are as much in evidence as her insecurities. Even if you find The Tango Lesson uncompelling as psychodrama, you won't fail to be seduced by Robby Muller's dreamy black-and-white cinematography. The film is replete with mesmerising dance sequences in which his camera seems as much a third partner as an observer.
Alien Resurrection (18). Last seen engulfed in flames at the end of Alien3, Ellen Ripley (Sigourney Weaver) is back. And why not? In Hollywood, you can account for anything if the price is right. As it turns out, "Ripley" is a clone, which conveniently explains both her unlikely resurrection and her painfully stilted lines. Jean-Pierre Jeunet's direction is more lurid than it is imaginative; nothing here comes close to the mad inventiveness of his first two films, Delicatessen and The City of Lost Children. The movie isn't especially exciting (or coherent) and, in all honesty, it's a bit of an eyesore. Weaver just about holds her own, but Winona Ryder does a terrible impersonation of an action heroine. Be warned: the flaccid conclusion threatens yet another sequel. Dennis Lim
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments