London 1969 - two 'resting' (unemployed and unemployable) actors, Withnail and Marwood, fed up with damp, cold, piles of washing-up, mad drug dealers and psychotic Irishmen, decide to leave... See full summary »
Richard E. Grant,
A young wife decides to complete her education and take her exams. She meets a professor who teaches her to value her own insights while still being able to beat the exams. The change in ... See full summary »
A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along... See full summary »
Oil billionaire Happer sends Mac to a remote Scotish villiage to secure the property rights for an oil refinery they want to build. Mac teams up with Danny and starts the negotiations, the locals are keen to get their hands on the 'Silver Dollar' and can't believe their luck. However a local hermit and beach scavenger, Ben Knox, lives in a shack on the crucial beach which he also owns. Happer is more interested in the Northern Lights and Danny in a surreal girl with webbed feet, Marina. Mac is used to a Houston office with fax machines but is forced to negotiate on Bens terms. Written by
Matthew Stanfield <email@example.com>
The area where the village is supposed to be is actually near a live bombing range. See more »
Victor, who "has been coming here for years", and is very familiar with all of the townsfolk, is introduced to Ben (the morning after the ceilidh) as though a stranger (and even though Ben was present during Victor's song). See more »
How's the water? Cold?
Not as cold as it should be. The North Atlantic drift comes in here. That's warmish water from the Caribbean. That's why it's special here. There's stuff fetching up here all the way from the Bahamas.
Oh, that's a long way.
Not that far.
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I consider this one of the 10 best movies I've ever seen (and to paraphrase John Cleese from LIFE OF BRIAN, I've seen a few). It is definitely the funniest movie of the 80's, just ahead of RAISING ARIZONA. And although LOCAL HERO and RAISING ARIZONA are quite dissimilar films, they do share one distinction: they were both made in the 80's, yet they go totally against the grain of movies made during that decade. All the shallow, cheap, go for the simple-minded lowest common denominator audience garbage that was so much a part of the 80's is missing here.
What is most special about LOCAL HERO to me is how it not only respects it's audience, but seems to show an against-all-odds affection for humanity that INCLUDES the audience. Bill Forsyth cares about every character that inhabits his film, and in a very gentle, open-handed way he seems to want to share his characters with the audience so that the audience might see the best of themselves in some aspect of those characters.
I can understand why Forsyth didn't develop into a major moviemaker in Hollywood, in the same way that I can understand why some people find this movie boring. But somehow, to me, keeping this movie alive along with all its' other fans is part of a cockeyed optimism about people that, these days, seems to be very much against-the-grain.
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