Relegated to a forlorn afterlife of unsmiling lost souls and melancholy drifters as a result of committing suicide in the mortal realm, a heartbroken young man sets out to find the girl who inspired his final act of self-destruction after learning that she too has taken her own life in director Goran Dukic's adaptation of Etgar Keret's darkly comic novella Kneller's Happy Campers. A likeable young man despite his depressive disposition, Zia (Patrick Fugit) puts blade to wrist only to find that the pain of life doesn't end with the coming of death. Now trapped in a bleak metaphysical landscape populated entirely by suicide victims blearily searching for the joys that eluded them in the physical realm, Zia soon learns that the love is one of the latest arrivals in the dreary land of the dead. As Zia sets out to locate his ill-fated former companion and experience the joys that eluded the couple in life, he is joined in his quest by a lovelorn Russian rocker named Eugene (Shea Wigham) and an accidental tourist named Mikal (Shannyn Sossamon), who's looking for a way out of the sorrowful stir.
Some like it Sexy is curiously watchable due to its rough hand held camera approach to filmmaking, endless attempts to wed nearly all the action with the title song (plus some surprising top 40 material) and many nostalgic London locales. There's even some low rent surrealism- most noteworthy is the way Peter's conquests are inter cut with scenes of meat being cut up, for some dubious un-pc symbolism. Fans of Hammer films will no doubt be aghast to find twin sisters Mary and Madeleine Collinson the stars of Twins of Evil in some fairly scandalous scenes. There's much kitsch value as well with the unavoidable mindbending LSD sequence and Winter's dedicated follower of fashion, rivaling Austin Powers in his choice of Carnaby Street fashions. The film wasn't released until two years after it was made, apparently in its original version it was not explicit enough and Winter had to shoot some crude `sexy' inserts using very obvious body doubles to ensure a sale..
This 90-minute documentary film covers the full story and music of The Smiths. It features rare musical performances, videos, TV appearances, interviews with the band, and expert comment and review from an esteemed panel of experts. It is the first of its kind to document the history of one of the most important band of the 1980s: The ultimate icons of the "indie" genre. It includes contributions from; producers Stephen Street, John Porter and Kenny Jones; Smiths fifth member Craig Gannon; Author of Saint Morrissey Mark Simpson; Journalists Paul Morley, Nigel Williamson, Jake Kennedy and John Robb; Factory Records supreme Tony Wilson; ‘Roadie’ Grant Showbiz; DJ and early champion David Jensen and a host of other names.
Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative.