Arts &
  Arts Culture Analysis  
Vol. 11, No. 4, 2012
  Current Issue  
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Robert J. Lewis
  Senior Editor
Bernard Dubé
  Contributing Editors
David Solway
Nancy Snipper
Andrée Lafontaine
Samuel Burd
Sylvain Richard
Marissa Consiglieri de Chackal
  Music Editors
Emanuel Pordes
Serge Gamache
  Arts Editor
Lydia Schrufer
Mady Bourdage
Chantal Levesque
Denis Beaumont
Marcel Dubois
Emanuel Pordes
  Film Reviews
  Bowling for Columbine
Shanghai Ghetto
Talk to Her
City of God
Magdalene Sisters
Dirty Pretty Things
Barbarian Invasions
Fog of War
Blind Shaft
The Corporation
Station Agent
The Agronomist
Maria Full of Grace
Man Without a Past
In This World
Buffalo Boy
Shake Hands with the Devil
Born into Brothels
The Edukators
Big Sugar
A Long Walk
An Inconvenient Truth
Sisters In Law
Send a Bullet
Banking on Heaven
Chinese Botanist's Daugher
Ben X
La Zona
The Legacy
Irina Palm
4 Months, 3 Weeks, 2 Days
Poor Boys Game
Finn's Girl
Leaving the Fold
The Mourning Forest
Beneath the Rooftops of Paris
Before Tomorrow
Paraiso Travel
Necessities of Life
For a Moment of Freedom
Blood River
By the Will of Genghis Kahn
The Concert
Weaving Girl
Into Eternity
When We Leave




A & O film critic Nancy Snipper has seen the following films. Here are her ratings and comments, always out of 4, reserving 2.5 or more for a noteworthy film, 3.5 for an exceptional film, 4 for a classic.


[reviewed by Nancy Snipper] This perfectly construtced romantic comedy features Sophie Marceau and Gad Elmaleh as the two star-struck lovers whose life situations make it nearly impossible for them to be together. Charlotte (Marceau) works for her ex-husband. She uses his money for a foundation she started to help young artists. Sacha (Elmaleh) is a jazz pianist who writes jingles and takes women to bed. His latest pitch was to Charlotte's husband's ad agency. As luck or bad luck would have it, the two future lovers inadvertently meet outside in the rain when Charlotte slips and falls down at Sasha's feet as he is about to get into his car. Sasha does not know Charlotte's ex (one of them) is the big wig ad agency owner he had just met. So many adorable circumstances bring them together in such novel ways to show off both these actors' brilliant comedic talent. The dialogue and plot are really good. The gags, witty lines and hilarious situations harken back to Charlie Chaplin and the Three Stooges (two in the case of this funny film). It is delightful, fast moving, and it totally shows just how great actors can be -- even when they are as gorgeous as these two stars. I'm thrilled their characters got together in the end, but was sad that the film had to end at all. The message is clear that happiness can't come from job success -- only from love -- but there are always obstacles to conquer.

3.0-- CORNOUAILLE, Anne Le Ny Hiebler & Gerard Ertl
[reviewed by Nancy Snipper] Odile is a highly independent, lonely woman who is blocked emotionally. Her father died when she was young. Odile is deeply in love with a married man who visits her while away from Paris in Bretagne. She finds out she is pregnant while in Cornouille, Bretagne. She decides to take the abortion pill. She has come there to sell her aunt's lovely old house full of furniture, photograph albums, books and keepsakes which she eventually packs up and sells to a louse of an antique dealer. Upon arrival at her deceased aunt's house, she meets her childhood friend Loic whom she does not really remember, but eventually memories come back. Loic strongly forces himself into her life, even telling her he will father her unborn child, but his homeless situation has been kept a secret from Odile until much later in the film. Odile wants him to leave her alone, but Loic is persistent. Odile's parents appear as ghosts in the film along with her aunt. Is Loic a ghost too? We never really know, for in this part of Bretagne, mystery is a way of life. In the end, Odile stays on and decides to keep the house. She has freed her emotions and opened up to a new beginning. Vanessa Paradis was very good in this intriguing film well edited film. The character she played was someone many modern women would relate to.

2.8 -- HIT AND RUN, Dax Shepard & David Plamer
[reviewed by Nancy Snipper] I liked this movie. Dax Shepard plays Charlie Bronson -– a name he gave himself after being placed in the witness protection program. He was part of several bank robberies, but turned in Alex, his psychopathic former bank robbery buddy (Bradley Cooper) in order to void turning in his former bad girl fiancé at the time. All we involved in the robbery; Charlie had to choose between her and his bud. His real name is Yul Perkins, and as his present girl friend (Kristen Bell) find out Yul is a darling with a lot of packed, hidden baggage.. Kristen is offered a job in LA and Charlie is determined to get her there in time for the interview. But Alex, now released from jail is after him. The movie throw a lot of funny situations our way, but on the journey there is a fair bit of vulgarity entrenched in American stereotyping behavior that candidly treats the bigotry of that nation. Tom Arnold as the goofball cop is hilarious, and the ensemble acting was great. Still, this movie hits a tad below the belt to rate higher than one to see on a rainy afternoon. The car chases went on far too long, but you know those Americans – they love their cars. Oops, pardon the stereotyping; his movie which in fact is spoofing elements of low-life American culture, does it well.

1.0-- TWO DAYS IN NEW YORK, Julie Delpy
[reviewed by Nancy Snipper] A total bomb! Julie Delpy should stick to acting and rely on scripts that merit being produced into a film. Furthermore, I found her film anti-Semitic. The plot is all over the map as is the acting and the frenetic pace that ironically kept the movie moving at a snail's pace. I could hardly wait until it ended. The plot: her Jewish father from France with his other daughter -- a nympho -- and her boyfriend come to visit Marion (Julie Delpy) in New York who has partnered with Mingus (Chris Rock) -- both on their second marriages. Her French family act like total buffoons and pigs who have no manners whatsoever. Marion is an artist who is having an exhibition. She has photographed images of herself in various positions on a bed. The narcissism in this movie reflects Delpy's own love of self. To add insult to injury, she has tried to emulate Woody Allen in tempo and dialogue. Oh yeah, in this art show, she has sold her soul to the highest bidder. It would seem Delpy has done this in real life, judging from this soulless movie. I won't even bother giving more words to plot and ending, for it doesn't make any difference whether you bear staying to the end, or walk out after the first ten minutes. Finally, most French farces are funny. Given, she is French, she has failed miserably in the genre the French are experts in.

 3.8 -- SING YOUR SONG, Suzanne Rostock
[reviewed by Nancy Snipper] Most of the 'White' world knows Harry Belafonte as that luscious-looking black man from the Caribbean who sang calypso songs, appeared on the Ed Sullivan show and made some award-winning movies as well as garnering Grammy Awards for his music. But what many of us do not know is Harry Belafonte spent most of his off-stage life fighting as an activist alongside Dr. Martin Luther King. As tireless crusader, Belafonte journeyed to dangerous parts in the South to embolden the blacks, strode over the drought-stricken lands of Africa, including Ethiopia to do what was necessary to get the world to take notice and change things. In fact, together with Quincy Jones, he initiated the "We are the World" campaign which resulted in tons of air-drop food and supplies from planes in Ethiopia. Belafonte, also started a Kenyan educational program which he funded to bring bright youth to America for college studies. They were to return to their country to increase academic acumen. Belafonte became excellent friends with Nelson Mandela, and to this day the octogenarian speaks to him on the phone almost every morning. Belafonte has won some of the world's most prestigious awards for his acting and activism. One suspects his humanitarian awards mean more to him than his performance prizes. He was bestowed the Honourary Award for Children's Rights by UNICEF Germany (2011), BET (Humanitarian Award) (2006) and IMPACT Awards -- to mention only a few -- for his courageous and dedicated involvement in the fight against racism and youth issues. He has ventured into prisons and initiated youth conferences to address gang problems. His work with The Civil Rights movement including the SNCC has been his life mission. He used his talent and eventual star status to support demonstrations and wake up Bobby Kennedy to the plight of blacks. He was successful at this. The documentary offers a candid look into his life from the man himself. We see how he had to endure humiliation, even when he got top billing on billboards in Vegas, New York and beyond. We see how his obsessive determination to right the world's wrongs takes him into lands of strife and onto the the psychoanalyst couch. This part was terrible for him, as his shrink was a complete phoney who was a spy for the FBI during the Communist scare of Pinkie paranoia in the United States. The film is powerful as it is Belafonte himself who takes us on his life journey and comments on camera about every period of his life with candour and eloquence. We meet his children and his three wives. We see this man still sparkles and is not determined to rest. He still wants to unite all peoples in a common plain where boundaries are banished through love, tolerance and a collective for peace. Harry Belafonte was a guest of the MWFF festival and appeared after the screening to answer questions from the audience and do book signing. He showed his brilliance will never fade. He is an inspiration -- a legend. His inspiration came from Paul Robeson, and now Belafonte has become ours. The Festival honoured him with the 2012 Humanitarian Award.

[reviewed by Nancy Snipper] What goes on inside the head of uber-creative people? This stimulating, fast-paced documentary reveals the zany personalities of eccentric geniuses. Steeped in drive, 'daringhood' and self-deprecation, these thirteen remarkable people (artists and scientists) have contributed greatly in their fields; their output has expanded, even changed the sphere of their respective disciplines. Pick your favourite flamboyant figure here: two brilliant cancer researchers, an Indie singer/songwriter, a quirky comedian, an editorial cartoonist, a video game designer, a Hollywood sci-fi creature designer, two chefs, two fashion designers, a choreographer, novelist and a prodigy/composer (with OCD it would seem). Each is interesting as they explain their muse, creative mania, and how they got lucky too. They are on camera talking out at us and showing us how they work. They all have a sense of humour about themselves and are candid about their creative process. Structurally, the film deals with different topics, such as drive, contentment and inspirational source. It is a bit frenetic in presentation, with music effectively driving it along. This unique documentary is full of creative verve exploding into an exciting collage of creativity and tempo.

3.0-- SCHUMANN, Christian Berger
[reviewed by Nancy Snipper] Was Schumann a genius or madman? That is the question conductor Paavo Jarvi asks of the composer's four symphonies masterfully played by the Kammerphilharmonic Bremen at Pier2, a former shipyard turned concert hall in the port of Bremen. Jarvi brilliantly and passionately explains Schumann (the man), by uncovering and analyzing the complex seemingly unrelated transitions that take place in passages in his symphonies. Praised for his lieder and piano music, Schumann can now rest easy knowing that this conductor is probably his greatest champion when it comes to extolling the mind, heart and intensity behind the musical matter of this great, mercurial composer. Jarvi describes Schumann's music as being neurotic and extreme. He will continue to remain enigmatic, tragic and sorrowfully misunderstood. Schumann died in a mad house in his mid forties; he did not fit into this mediocre dispassionate world. Thank goodness his music lives on.

2.4 -- INVASION, Dito Tsintsadze
[reviewed by Nancy Snipper] Joseph is at the funeral of his wife, and at this funeral are Nina and Simon, her son -- a Kendo expert. They tell him they knew his deceased wife. They insinuate themselves into his life and take residence in his huge stone house. Before long Milena and Marco, her handicapped son show up and they move in. Milena has nocturnal trysts with Joseph. But Nina is coming on to Joseph too. He rejects her. Simon is so mean to Marco and makes him run around the courtyard, but Marco is a sick boy. Then Nina's boy friend shows up and he starts taking over the entire house. He and Simon hate one another. It becomes mysterious and very tense, and Joseph has had enough. In the end, through a series of murders, Joseph ends up alone with Marco and Milena. Everyone lives happily ever after, I suppose. It is a strange movie plot that is well acted.

3.9 -- WINTER NOMADS, Dominique Manuel von Sturler
[reviewed by Nancy Snipper] Imagine trekking 600 kilometres over hill, dale, mountain and field four months in winter in Switzerland while leading 800 sheep to their eventual destination -- a truck to transport them to the slaughter house -- not all of them -- just the fat ones. This astounding documentary vividly captures the harsh conditions facing Pascal and Carole -- shepherds guiding their not so obedient flock which also includes four dogs and three donkeys. The couple camp outside every night, rarely able to enjoy a hot meal indoors. The motorway is now far away as is this way of life for 99% of the world's population. Pascal has been doing this for 30 years, Carole seven. The director told me the couple split up after the seven years of being together, but Carole still does this journey during summer. We watch them survive, but Pascal makes things difficult for Carol, criticizing her harshly when things go wrong. Still, Pascal has an adorable smile and cuts a rugged figure in the awesome Swiss landscape where nature is friend to no one -- though Pascal thinks there is an angel guiding them. This is a must-see film. My one objection is: they did not show a map of their journey nor name the places they settled in for a night.

[reviewed by Nancy Snipper] The title should be Philemon Chante lui-même. This musician has verbal diarrhea about how songs come to him and how he met musicians to sing his songs in Havana over and over again in the studio and outside. He also sings his songs over and over again in places of Havana with no one listening to him -- except himself. No matter; he is in love with his compositions. This documentary is about his return to Havana to deliver the CD he finally made in Montreal using the tapes full of his songs recorded in Cuba using Cuban musicians during a trip two years ago. It would have been so much more interesting to hear the Cubans sing their own songs and film them rather than hear over and over again his songs which were painful to listen to, boring -- not to mention he is totally painful to watch. By chance, Roc Demers met me in the upper lobby of the ONF where this film was shown. He said to me:" I'm a filmmaker but I don't explain the process of my ideas and making the films." I replied: "Yes this singer is a complete narcissist, and Roc said: "That is exactly the right word to describe him (the singer)." This film was well made but why make it? Philemon's story is a dime a dozen.

3.8 -- YOSSI, Eytan Fox
[reviewed by Nancy Snipper] Cardiologist Dr. Yossi is depressed, overweight and without love in his life. A woman is slated to have an echo cardiogram by another doctor, but Yossi convinces his colleague to allow him to do the test. We wonder why. It turns out this woman had a son killed in the war who happens to have been the young lover of Yossi. in fact, Dr Yossi is gay. We follow him as his colleague tries to get him into a ménage à trois at a bar, but Yossi makes a beeline out. Yossi takes a ride out of town and ends up at a fast food place. There are four army soldiers who are much younger than him (Yossi is in his mid-thirties), and they have missed their bus, so Yossi gives them a ride to their resort hotel where they are going to take a brief vacation. One of them is openly gay. Yossi drops them off, but turns back and checks into the hotel. Eventually Yossi and this beautiful looking young vibrant man end up together. There is no turning back for Yossi in every sense of the word. Goodbye hospital. The acting in this film is phenomenal! As we watch how the two of these soldiers of longing keep bumping into one another -- mainly due to the young gay man's plotting, we are fascinated in Yossi's cool, quiet demeanor. He is full of complexes, and never makes the first move, though he secretly adores this young man. The slow subtle play-out of the plot brilliantly demonstrates the yearning of our lonely doctor. This is a great film that immediately draws us is. The director sticks to one theme while integrating little episodes into the plot in order to bring Yossi closer to his happy destiny. We slowly begin to know Yossi -- his pain, loneliness and dark secrets that finally surface in a cathartic confession of relief for him and for us. All I can say is this: Wow! These actors are so believable we forget we are watching a film. Low key and quietly heart-breaking, the despair in this film moves beyond the gay theme into universal yearning for all of us watching "Yossi."

1.5 -- MARGARITA, Dominique Cardona & Laurie Colbert
[reviewed by Nancy Snipper] A badly made movie that goes beyond boring which is a shame because it deals with gay lesbian issues, yuppies nearly losing it all, and illegal nannies who end up taking care of the whole family as does the nanny Margarita. Gail and Ben are life partners who have lost a lot of money in a bad investment. Their marriage is also on the rocks. For six years, Margarita has been the nanny to their teen daughter. She can't stand her parents and wants to go to Mexico with Margarita who is teaching her how to be a nanny in a non-serious way. Mali is preparing for her 'new' job if she moves. It turns out, Margarita is going to be deported; a simple bike accident brought the police and the order for her to leave within 5 days. A plan is hatched to have her marry either Ben or Gail, but her girlfriend pops the question, and all is saved

3.0 -- SAND'S TRAIN, Olivier Langlois
[reviewed by Nancy Snipper] The year is 1939 in Theis, Senegal. The railway workers are protesting the harsh conditions with unfair wages, but the local army comes out and shoots, killing many. Fast forward to October 1947, and the same terrible conditions prevail. But this time, everyone remains firm, demanding decontaminated drinking water and proper food rations. The French are hostile except for one itinerant doctor who watched his friend get shot by the Nazis during the Second World War. He did nothing to help his friend during the final moments when he was removed from the captured group -- discovered in the forest by the Germans. But then again, his hands were 'tied,' as he too had a gun held to his head. Able to retrieve his friend's pendant as a memory, he goes to Senegal looking for something that he can't put his finger on. The murdered man's mother in Senegal sees the doctor has her own son's pendant around his neck, and she embraces the doctor as her own son. Both have found a new reason to go on living. But we are far more interested in the strike and the barbaric attitude towards the strikers. There is a love story in the mix -- between Abdou and his girl friend -- but as the leader of the strikers, he is killed by Marcel, the wretched French local train manager. This movie credibly charts this terrible period in Senegalese history. The excellent acting powerfully integrated into the play of tensions which effectively unfolds as rage on both sides grows deeper. It was this Senegalese bravery and fortitude that eventually won them their independence from the French grip.

4.0-- MARIACHI GRINGO, Tom Gustafson
[reviewed by Nancy Snipper] Bravo! A joy! Music so incomparable, it is coming out on CD. It will feature one of the film's artists -- Lila Downs, Mexico's most famous mariachi singer. This astoundingly remarkable feature also brings to light the great talents of Canadian-born actor, Shawn Ashmore who now lives in Los Angeles. He had to learn a lot to ace the role, including singing and playing various instruments. He is the main character -- Edward -- an introverted fellow about to turn 30 whose life is going nowhere. But that soon changes. He leaves his family's cornfields in Kansas to persue his dream of becoming a mariachi performer. It all started in his hometown. Edward's inspiration takes place before his journey to Guadalajara inside a local Mexican restaurant where he becomes transfixed by the owner who sings an iconic mariachi song about wandering in the mountains looking for death because his loved one is gone. This wonderful singer teaches Edward a lot about performing, and he ignites his young protege's dream by taking him downstairs in the restaurant to show him a replica -- the most famous area for mariachi bands in Guadalajara. It is full of lights, a mock-up train-set type miniature version of Guadalajara's centre, but no matter: Edward is enchanted by it all and begins to dream of going there. When his friend has a stroke, he leaves his parents to follow his dream. He lands in Guadalajara. There he meets a wonderful Mexican girl who gets him started in his career, introducing her to Lila, while getting him to work on his music and in the family-owned restaurant where she works. She has lived in California, but has put her own dreams on the back burner as her mom wants her to take over the joint. Edward becomes smitten but she is gay. Edward works on his prime inspiration: to be a part of the people by playing mariachi music. He practices day and night inside his room and on the streets. He ends up performing in front of thousands with Guadalajara's most famous mariachi band. Lila Downs had a lot to do with that. Her voice is staggeringly inspiring as is her generosity to introduce Edward to the right people. The end scene where he travels with her and her band to a small country dwelling to perform for the octogenarian mother on mothers' day is a tear-jerker. The entire village surrounds the house as Lila sings in mournful mariachi magnificence. I had the opportunity to meet Cory Krueckeberg, the script writer, who got his idea for the film while riding the subway in New York City. A mariachi singer entered the train, and Cory thought: "What would it be like to have a gringo try to become a mariachi in Guadalajara?" This capital of Jalisco province is also the mariachi capital of Mexico. Wonderfully lively scenes of the city fill the screen; the atmosphere is electric, exciting and intoxicating. The audience went crazy after seeing this film. Everyone was ecstatic. During the question period to the director and writer, one man announced he was going to go to Guadalajara on his next trip; he had never been to Mexico, but after seeing the film, he was set on visiting the city of mariachis. An artful film of great appeal, not only for its musical value, but it touches our hearts. Interestingly, it was rejected byTIFF. The Toronto festival's comment was there was not a large enough Latin American audience in Toronto to enjoy this film. Loco! This film will go far, traveling well beyond the Mexican border =- straight into the world's musical heart. Viva Mariachi Gringo!

2.2 -- SIX POINTS ABOUT EMMA, Roberto Pérez Toledo
[reviewed by Nancy Snipper] Emma is going on thirty and she desperately wants to get pregnant. She has an affair with Gérman, her group therapist who holds sessions with the mentally and physically challenged. He videotapes the sessions, and while dallying with Emma, he also videotapes those sexual encounters. In the end, he falls for her, but she leaves him. She really used him after all. The movie has a cool twist when the brother of an apartment friend takes a shine to Emma. He becomes jealous of this therapist and stalks him. He discovers that this handsome man is married. He lets Emma and German's wife find this out in ways that would make a private detective hire him. Her wish comes true though. The movie's message was not moving for me, but the group sessions were funny as each person revealed his/her foibles. It was obvious this was the director's first feature. The actress Verónica Echegal was not credible in her blindness. Her eyes became too focused at times, and quite frankly, by the end, we felt more sorry for Gérman than her.

3.6 -- FORMENTERA, Ann-Kristin Reyels
[reviewed by Nancy Snipper] Nina and Ben visit their ex-pat German friends in Formentera. They live in a wonderful modest stone-built dwelling which perfectly harmonizes with the raw natural beauty of the island. Nina, brilliantly played by Sabine Timoteo, is not as enamored with the place as Ben. In fact, Ben wants to give up his life in Germany and move here to co-partner with one of the friends in building solar panels. This comes as a surprise to Nina who had no idea that the real reason they had come here was for Ben's business project. They have a couple's fight, but Nina's response takes the form of brooding silence. She goes for walks on her own. She also is disturbed by the way Ben and Mara -- a hippy partnered with Pablo -- converse and laugh together. They have a child and he is in taken care of by the friends. Pablo and Mara sell things on the beach each day, and so everyone chips in to help one another. It is a commune of sorts. One night there is a beach party. Ben, Mara and Nina drink a fair bit. Mara strips and tries to coax them into swimming over to the island of Ibiza. Ben refuses to go, but Nina -- by this time- intolerant of Mara's extroverted behavior -- joins Mara in the nighttime swim. Ben is screaming not to go as they are both drunk. Now in the water, something ominous happens: Mara disappears. Nina calls out to her. Has she drowned? Nina has to swim to land and ends up almost naked wandering around Ibiza at night. She makes it back to Formentera, but everyone is wondering where Mara is. Nina remains silent about what happened until the second day when Ben forces her to talk. She states that Mara was in the water and then simply was gone. Tensions mount back in the house that no longer echoes with laughter. Finally, they ask Nina to speak about that last night with Mara. Nina and Ben support each other, so Ben pipes up that Mara went off on her own. We of course, think Mara has drowned. Nina is told the police want to talk to her. She remains impassive. Everyone goes off to look for her except Nina. Suddenly, Mara comes back to the house, and Nina erupts in tears and then laughter from relief. Up to now, she has been so cool and quiet. Her character is intriguing and compelling. Her guilt is hidden in solitude; she has become a marginalized person in this house where the people are polite enough not to press Nina by nagging or forcing her to talk until the third day of Mara's disappearance. The ensemble acting in this movie was incomparable. Sabine Timoteo was the actress who anchored the entire film through her remarkably profound interpretation of Nina. I loved the film. Let's face it, the setting was sublime, the tension understated in its mounting climax, and the story totally credible.

3.4 -- MACPHERSON, Martine Chartrand
[reviewed by Nancy Snipper] This lovely animation of 8000 paintings recreates the touching tale of truth about the friendship between Québecois singer Felix Leclerc and Jamaican-born chemical engineer Randolph MacPherson. Leclerc wrote a song to honour him. He sings in this movie and his voice reminds us all of a male Edith Piaf. Evidently, the two friends visited one another in each other's homeland (Macpherson graduated from McGill). Their friendship formed in 1939 and lasted a lifetime -- specifically Macpherson's who died in Montreal, freezing to death. Leclerc's song pays tribute to this remarkable man while at the same time recreating those hardy days of chopping wood in Quebec, eating together and running the log drives in Lac St Jean. The artistry in this wondrous 11-minute short captures the camaraderie of those days, vividly evoking the past and present; images merge into one another using a single flower, water and logs. The song 'Macpherson' was composed by Leclerc in 1959, and through this film, resurrects the moving memories of their endearing friendship, while immersing us in mellifluous moments of magic.

[reviewed by Nancy Snipper] China's first monster movie is totally hilarious and touching. too. Xiao Xing, a young boy is friends with Amao, a humongous crocodile who lives with smaller ones in a croc farm run by Xing's granddad who certainly has a way with Amao. He taps his long bamboo pole and Amao comes out of his cave. He is an obedient croc. But when the crocs area is loaded up to become food for a sleazy eatery run by a gang of croc thieves who are owed money by granddad, things grow sour and dangerous. They kill the little crocs, and just as they are about to slaughter Amao, our reptilian anti-hero, escapes. His first victim to chase is a young money-obsessed lady whose dough ends up in Amao's belly. Here's why: she's in the tea fields, having been abandoned by her two-timing boyfriend. He's left her on the highway. The young woman ends up in the fields where the ccroc is, but she escapes his jaws by running up a pole. Amao, sees her. He ends up biting off her handbag from the shoulder straps, and her thousands of euros are in this bag -- money she earned working years at a shoe factory in Italy. Now everyone is after the croc, especially those bad guys who hear about her money safely resting in Amao's tummy. The ending was a tad sad. All that can be said is "Jurassic Park" watch out! I loved this comedy that moves faster than a croc on the run. This great film makes biting comments about Chinese society using snappy dialogue and a croc caught in human treachery. Too bad Amao is not adored by all. Suspense and comedy become one is this 'jaw-dropper.'


For 2008 Montreal World Film Festival Ratings, click HERE.
For 2009 Montreal World Film Festival Ratings, click HERE.
For 2010 Montreal World Film Festival Ratings, click HERE.

For 2011 Montreal World Film Festival Ratings, click HERE.


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