Philipe Gastone, a thief, escapes from the dungeon at Aquila, sparking a manhunt. He is nearly captured when Captain Navarre befriends him. Navarre has been hunted by the Bishop's men for ... See full summary »
With the help of a talking freeway billboard, a "wacky weatherman" tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early-90s Los Angeles.
Richard E. Grant
Philipe Gastone, a thief, escapes from the dungeon at Aquila, sparking a manhunt. He is nearly captured when Captain Navarre befriends him. Navarre has been hunted by the Bishop's men for two years, ever since he escaped with the Lady Isabeau who the Bishop has lusted after. Navarre and Isabeau have a curse that the Bishop has placed on them that causes Navarre to be a wolf during the night and Isabeau to be a hawk during the day. Navarre insists that Philipe help him re-enter the city to help him kill the heavily guarded Bishop. Written by
John Vogel <email@example.com>
The tune that Isabeau and Phillipe dance to in the stable is a genuine Italian 14th Century dance named "Trotto". The film also features a Renaissance piece by John DowlandSee more »
The moon is shown full every night except the night of the struggle on the ice, where it is shown as half full, and then is full again the next night. This is more of a problem because solar eclipses always happen on a new moon (and there is an eclipse in the film). Also, the Moon is not visible as a black disc (as shown in the film) until the totality phase of a solar eclipse. Before and after totality, only the portion of the Moon that is occulting the Sun is visible. (The Sun's light is strong enough to drown out any view of the Moon when the Moon is near the Sun; moreover, since solar eclipses can only happen at new moon, there is no lit portion of the Moon to be seen anyway.) See more »
Impossible. Impossible. Nothing is impossible. Come on, Mouse. Dig! Dig, Mouse. Come on.
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Do a little dance, make a little love, become a wolf tonight
It's funny - my two clearest memories of this film were off the mark in completely opposite ways. I remembered Matthew Broderick being deeply annoying; as it turns out he's just mildly irritating. And I remembered the soundtrack being bad; but good God, it's *appalling*. Whoever decided that a tragic, touching supernatural romance would be best accompanied by funky 70s synthesisers (I don't think they're fitting enough to even be classed as 80s) should be forced to eat their own afro. Yes, all of it. I can honestly say I have never heard a less appropriate musical score in my entire life. It's not that it's bad, exactly - it'd probably work pretty well if the lead character was, say, Shaft.
Still, when the crazy disco beats aren't violating the atmosphere, there's some good stuff going on. Richard Donner already had serious directing experience under his belt in 1985, and Ladyhawke is beautifully shot and paced with some gorgeous scenery to take in. There's just enough action (they give it some proper welly in those swordfights), John Wood provides a proper boo-hiss malicious villain, the dialogue never quite slips into melodrama despite teetering on the edge occasionally, and it's always a pleasure to watch Rutger Hauer in one of his few good roles before he degenerated into self-parody. (Well, if we're being honest it's a pleasure to watch him in his godawful recent stuff as well, but for different reasons.) Above all the film's got heart, which is more than you can say for 95% of the cack that Hollywood churns out, and it deserves some small credit for that at least.
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