Two young people stand on a street corner in a run-down part of New York, kissing. Despite the lawlessness of the district they are left unmolested. A short distance away walk Maria and ... See full summary »
Beate Charlotte Lunde
Told in Documentary form, the film depicts a group of five British film critics and politicians who venture off into the West Virginian wilderness in search of the "Tony Blair Witch" which ... See full summary »
Michael A. Martinez
C. Alan Ploegsma,
Nasik-based Heerendra Dhaan and Raj Ranade are bodyguards of a politician, but after their employer is implicated in a scam, they end up assaulting a police officer and flee to Mumbai. Once... See full summary »
A trio of convicts joins up for an assault on a Cuban stronghold. After they are captured, they plan to escape before they face the firing squad. They eventually make it back to the American Southwest, where they go from town to town, robbing and killing. Written by
Dave Smith <firstname.lastname@example.org>
One scene has three men talking by a parked pick-up truck. In some shots, the truck is a Studebaker with a rounded roof and fenders. In other shots, it's an International Harvester with a squared-off roof and fenders. See more »
Come on, folks! Coleman deserves a break. If the film's credits said DIRECTED BY JEAN LUC GODARD critics would praise it as revolutionary "new wave" cinema.
Coleman challenges our conventional notions of narrative & structure. Coleman challenges our suspension of disbelief by DELIBERATELY making things fake & unconvincing, by distorting time, place & sequence in true "cinema verite" fashion. Remember, there are people out there who think Marcus Welby & Obi Wan Kenobi are REAL - so, rather than exploit the viewer, Coleman DEMANDS that we face our concepts of "reality."
Try an experiment: take just about ANY Godard film (but especially NUMERO DEUX) and pretend it's a COLEMAN FRANCIS film; you'll see what I mean. ANYONE can make a horrid self indulgent incompetent "movie" & be successful if the film has a European (preferably French) director's name on the credits... [note that Numero Deux is French for "#2" - translation: caca] ...Ok... RED ZONE CUBA really did hurt; it was abysmal; it was obvious that many script pages blew away while shooting & Coleman never noticed. It deserves a special place of honor with MONSTER A GO-GO, PLAN 9, ROBOT MONSTER and MANOS as one of the all time worst.
Coleman hurt me; I think I'm suffering the movie watcher's equivalent of the Stockholm syndrome... pardon me while I check out BEAST OF YUCCA FLATS again; I am sure to find relief therein. I will imagine BEAST OF YUCCA FLATS is a Jean Luc Godard film...
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