Word: bessone
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...Besson, La Femme Nikita (1990). Anne Parillaud is a slinky yet conflicted hitwoman in Paris. Must be seen, if only for the Jean Reno cameo. Sadly, a promising American remake was dragged down by Dermot Mulroney. Skip...
...Sturges and Zinneman voted for Bay of Baghdad, followed by the insertion of a puppet government headed by Al D'Amato. Besson was drunk on port; most of his suggestions were unprintable, even on the Web. But if anyone knows a really good assassin, Tariq Aziz asks that you give him a call at his hotel before he leaves town. Or leave a message with me, the Couch Potato. Good weekend...
...nothing useful about it," says TIME's Richard Schickel. "For it is science fiction in the postmodern -- well, anyway, the post?'Blade Runner' -- mode. Its true subjects are art direction, special effects and the show-off panache with which its director and co-writer, Luc Besson, deploys them." Besson's energy and inventiveness are considerable and, up to a point, quite entertaining. Indeed, one could argue that his work offers a distinct kinetic improvement over classic sci-fi, generally a talky and static genre with its space voyagers forever standing around discussing whatever strange phenomena they encountered in their travels...
Even if the banks and government now see the need to respond to Jewish demands, there is a lot of resentment on the part of ordinary Swiss citizens who feel unfairly accused of collaborating with the Nazis. Says army veteran Daniel Besson, 77, of Vuarrens: "I bitterly regret the five winters I spent under arms during the war, with all the privations that involved, in order to guard that mountain of Jewish gold [in the Swiss banks]. If they want to revive the anti-Semitic sentiments of before the war, they couldn't go about it any better...
...Leon may be among the strangest in the long, tiresome history of odd-couple movies. The sweetness that develops between them as they try to elude the rogue dea agent who orchestrated her family's death (a divinely psychotic Gary Oldman) is crazily dislocating, the more so since Besson's French vision of the New York underworld is so eerily unreal. His final shootout is masterly cinema -- this is a Cuisinart of a movie, mixing familiar yet disparate ingredients, making something odd, possibly distasteful, undeniably arresting out of them...