On The Road

The Motorcycle Diaries (Widescreen Edition)

The beauty of the South American landscape and of Gael Garcia Bernal (Y Tu Mama Tambien, Bad Education) gives The Motorcycle Diaries a charisma that is decidedly apolitical. But this portrait of the young Che Guevara (later to become a militant revolutionary) is half buddy-movie, half social commentary--and while that may seem an unholy hybrid, under the guidance of Brazillian director Walter Salles (Central Station) the movie is quietly passionate. Guevara and his friend Alberto Granado (Rodrigo de la Serna, a lusty and engaging actor) set off from Buenos Aires, hoping to circumnavigate the continent on a leaky motorcycle. They end up travelling more by foot, hitchhiking, and raft, but their experience of the land and the people affects them profoundly. No movie could affect an audience the same way, but The Motorcycle Diaries gives a soulful glimpse of an awakening social conscience, and that's worth experiencing. --Bret Fetzer

Y Tu Mama Tambien

Plenty of juicy "s" words apply to And Your Mother Too: sexy, sweet, subtle, sad, surprising, superb... and did we say sexy? With enough male and female nudity to qualify as softcore porn--but deserving none of the stigma attached to that label--this vibrant coming-of-age road movie is guaranteed to jumpstart any viewer's libido. Frank treatment of its characters' burgeoning sexuality makes this unrated film a real eye-opener, but it's never prurient or juvenile. Rather, the three-way odyssey of two 17-year-old Mexican boys (Gael García Bernal, Diego Luna) and a 28-year-old Spanish beauty (Maribel Verdú) is energetic and affirmative, while acknowledging that relationships--and sexual adventures--rarely develop without a hitch or two (or three). Filmed in sequence by Alfonso Cuarón (Great Expectations), and shot with invigorating natural style, this refreshing comedy-drama employs an omniscient narrator to reflect upon precious stolen moments, weaving three lives into a memorable tapestry of fun, friendship, and fate. --Jeff Shannon

Julio and Tenoch are two teens ruled by raging hormonesand a mission to consume exotic substances. But one summer, the boys learn more about life than they bargain for when they set off on a wild, cross-country road trip with seductive, 28-year-old Luisa. Both boys taste forbidden fruit as Luisa schools them in the finer points of passion, but will their mutual desire for her destroy their friendship forever?

Dreamkeeper

A century old storyteller and his grandson a troubled 17 year old boy embarks on a cross country journey toward self-discovery. Like Old Pete's wise tales themselves Dreamkeeper is important and illuminating storytelling for the entire family.System Requirements:Colore/Approx: 180 MinutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: NR UPC: 707729144199 Manufacturer No: 14419

While it doesn't hold together as a three-hour TV drama, Dreamkeeper should prove enthralling to anyone interested in Native American myths and legends. A variety of tribal folklore provides the episodic thrust of this typical Hallmark production, which relies too heavily on digital effects--and the plodding direction of Hallmark regular Steve Barron--in telling the story of a resentful Lakota teenager (Eddie Spears) who reluctantly agrees to drive his wise old grandfather (August Schellenberg) from their South Dakota "rez" to an All-Nations Powwow in Albuquerque, New Mexico. Along the way, the tradition-bound elder serves as tribal "dreamkeeper" for his initially resistant grandson, who gradually realizes that his grandfather's stories--visualized through effects-laden reenactments involving all manner of magic and mystery--are essential in preserving the fading cultures of the Lakota and the several other tribes whose folklore depends on unbroken generations of oral tradition. While some of the lavishly dramatized tales can stand alone as authentic Native American myth-making, Dreamkeeper lacks the overall structure that could've given the stories a cumulative magical impact. Still, it's an admirable attempt to introduce neglected cultures into the television mainstream. --Jeff Shannon

The Straight Story

Throughout The Straight Story, 73-year-old Alvin Straight (Richard Farnsworth) gazes calmly at the night sky, as if the stars were reflections of his own memories. Alvin's eyesight is bad and his daughter (Sissy Spacek) is slightly retarded and unable to drive, so he's traveling from Laurens, Iowa to Mt. Zion, Wisconsin on a riding John Deere lawn mower. It's slow going, so there's plenty of time to stop for the night and ponder the cosmos. Alvin's journeying to visit his ailing brother; they haven't spoken in years, and it's time to make peace. Along the way, he befriends a variety of nice folks, and you have to ask yourself... Is this really a David Lynch movie?

It's a miracle that this G-rated Disney film was made by a director whose work is often described as twisted and bizarre. But Lynch is too complex an artist to be labeled, and he brings charm, grace, and kindness to his fact-based telling of The Straight Story--not to mention a serenity rarely found in movies anymore. It's a film of moments--funny, odd, quietly spiritual--and this simple tale of a man, a lawnmower, and rural hospitality becomes a genuine Lynchian odyssey, unlike any film you've seen but as welcoming as a cup of lemon tea with honey. Best of all, it's a fitting tribute to the career of veteran stuntman-actor Farnsworth who, at age 79, plays Alvin Straight to sheer perfection, his face a subtle roadmap to a broad spectrum of emotional destinations. --Jeff Shannon

Based on the true story that captured the hearts of America, THE STRAIGHT STORY is one of those rare films offering powerful, uplifting entertainment for audiences of all ages. Directed by acclaimed director David Lynch (WILD AT HEART, MULHOLLAND DRIVE), this gentle, inspiring film celebrates the human spirit. Richard Farnsworth (MISERY, THE NATURAL) stars as Alvin Straight -- a no-nonsense man who has never been one to lean on others. Now at an age when his eyesight denies him the ability to drive and walking is accomplished only with the help of two canes, Alvin lives a quiet life with his daughter Rose (Sissy Spacek). But when the call comes that Alvin's estranged brother Lyle (Harry Dean Stanton, THE GREEN MILE) has suffered a debilitating stroke, Alvin embarks on a dangerous and emotional journey to make amends. With little money, but plenty of patience and tenacity, he climbs aboard his 1966 John Deere lawnmower and plots the 260-mile course from his small Iowa town to Lyle's home in Wisconsin. Filmed along the actual route that the real Alvin Straight traveled in 1994, THE STRAIGHT STORY is a heartwarming and poignant drama chronicling Alvin's six-week odyssey and the many lives he touches along the way.

Pow Wow Highway

Gary Farmer (Smoke Signals) is the standout in a fine film by Jonathan Wacks about an oversized Cheyenne man-child (Farmer) who decides to go on a spiritual quest, while simultaneously giving a ride to his lifelong Indian activist friend (A. Martinez). The film takes us through some pretty desolate Indian communities, but while Wacks makes a point of revealing harsher aspects of life on some reservations, the emphasis is on Farmer's delightful performance. A bonus: among the cast are Graham Greene (Dances with Wolves) and Wes Studi (The Last of the Mohicans), neither of whom were well-known in 1989, the year this film was released. --Tom Keogh

For the Northern Cheyenne tribe of Lame Deer, Montana, the American Dream has taken a grim detour. Here, Buddy Red Bow (A Martinez) is a committed activist battling a suspicious land-grab. Philbert Bono (Gary Farmer, in a performance Roger Ebert calls "one of the most wholly convincing I've seen") is a serene spiritual warrior guided by sacred visions. But when Buddy's estranged sister is framed and jailed in New Mexico, the two men take Philbert's rust-wrecked '64 Buick `war pony' on a road trip that makes some very unexpected stops along the way. Jonathan Wacks (Producer of REPO MAN) directs and Graham Greene (DANCES WITH WOLVES), Wes Studi (THE LAST OF THE MOHICANS, HEAT) and Amanda Wyss star in this acclaimed comedy/drama about Native Americans understanding the past, fighting for their future and discovering a few surprising truths along the POWWOW HIGHWAY.

The Motorcycle Diaries (Full Screen Edition)

The beauty of the South American landscape and of Gael Garcia Bernal (Y Tu Mama Tambien, Bad Education) gives The Motorcycle Diaries a charisma that is decidedly apolitical. But this portrait of the young Che Guevara (later to become a militant revolutionary) is half buddy-movie, half social commentary--and while that may seem an unholy hybrid, under the guidance of Brazillian director Walter Salles (Central Station) the movie is quietly passionate. Guevara and his friend Alberto Granado (Rodrigo de la Serna, a lusty and engaging actor) set off from Buenos Aires, hoping to circumnavigate the continent on a leaky motorcycle. They end up travelling more by foot, hitchhiking, and raft, but their experience of the land and the people affects them profoundly. No movie could affect an audience the same way, but The Motorcycle Diaries gives a soulful glimpse of an awakening social conscience, and that's worth experiencing. --Bret Fetzer

Paris, Texas

Something like a perfect artistic union is achieved in the major components of Paris, Texas: the twang of Ry Cooder's guitar, the lonely light of Robbie Muller's camera, the craggy landscape of Harry Dean Stanton's face. In his greatest role, longtime character actor Stanton plays a man brought back to his old life after wandering in the desert (or somewhere) for four years. He has a 7-year-old son to get to know, and his wife has gone missing. The material is much in the wanderlust spirit of director Wim Wenders, working from a script by Sam Shepard and L.M. Kit Carson. If the long climactic conversation between Stanton and Nastassja Kinski renders the movie uneven and slightly inscrutable, it's hard to think of a more fitting ending--and besides, the achingly empty American spaces stick longer in the memory than the dialogue. Winner of the top prize at the 1984 Cannes Film Festival. --Robert Horton

After four years' absence, a social dropout reappears in l.a. to claim his abandoned son and then heads for texas to reunite the boy with his mother.

Central Station

In the opening scenes of Central Station, colorful crowds of Brazilians stream into and out of a Rio de Janeiro train, pushing through doors and windows. You're immediately pulled into the brutal vitality of a nation in motion, setting the tone for a picturesque road movie that charts Brazil's renaissance in a little boy's search for his father and an old woman's emotional reawakening. When we first meet Dora (Fernanda Montenegro), this frozen-hearted, sour-faced woman is the epitome of immobility: day after day, she sits in the train station selling her letter-writing skills to all comers, but often doesn't bother to mail these precious messages. When a woman who's paid Dora to write a pleading note to her son's long-missing dad gets run over by a bus, the child, Josue (Vinicius de Oliveira), is up for grabs. (The summary execution of a thieving street kid--in longshot--underscores the seriousness of this waif's plight.) After an abortive attempt to sell Josue for a new TV, the aspiring couch potato finds herself reluctantly propelled into an occasionally Fellini-esque odyssey through the hinterlands of Brazil's sertäo, where Dora and her sidekick find unexpected faith and family. Former documentary filmmaker Walter Salles (Foreign Land) mixes magic with realism in his appreciation of striking faces and places, but Central Station is primarily fueled by the tough/tender performances of Montenegro, Brazil's Judy Dench, and de Oliveira, an airport shoeshine boy Salles cast over 1,500 other hopefuls. (Montenegro was nominated for a Best Actress Oscar, and Central Station was in the running for Best Foreign Language Film.) No cloyingly cute child-star, de Oliveira plays Josue as a bracingly idiosyncratic brat. And watching Dora's face and soul slowly, unwillingly unclench as she gets back in motion--and emotion--is potent pleasure, even if Salles's trip does dead-end in soap opera as his Brazilian pilgrim's progress winds down. --Kathleen Murphy

In July [Im Juli]

Baise-Moi

Not for the faint-hearted. Baise-Moi defies categories--it features pornographic sex scenes and violent shootings, but it won't fit anyone's definition of an erotic thriller. After separately committing murders, two French women join together in a spree of crime and sex. Because both have endured abuse at the hands of men, the movie seems to start as a self-righteous parable--but the women's actions quickly degenerate into amoral, near random killings, with women shot as casually as men. One reviewer described Baise-Moi as "Thelma & Louise with actual penetration," but it's actually Thelma & Louise without Hollywood sentiment. By refusing to condemn or justify the protagonists' actions, and by depicting both sex and violence with unglamorous realism, Baise-Moi forces the viewer to respond in the most contradictory and basic ways. You may find the lead characters surprisingly sympathetic. Jarring, unsettling, and well worth watching. --Bret Fetzer

Banned in France, this Film Based on the Novel by Virginie Despentes Has Been Described as 'thelma and Louise' Without the Penetration. Lisa Schwarzbaum of Entertainment Weekly Says Baise Moi is "Graphic, Hardcore, the Most Ungussied Expression of Female Sexual Rage Ever Thrown Up Onscreen!" this is the Story of Manu, who is Brutally Raped, and Nadine who Sees her Only Friend Shot. United by Chance, They Begin a Journey Filled with Sexual Rage. Not Your Typical Road Trip Movie!