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...shop murder in the first few minutes, and a long, brutal fight in a bathhouse between Mortensen and two thugs; they're armed, he's naked. But at heart it's a two-family drama, one being Anna's sensible English aunt (Sinead Cusack) and crabby Russian uncle (Jerzy Skolimowski), the other Semyon and his son Kirill (Vincent Cassel). Kirill is like a mutant Corleone: he has Sonny's hair-trigger impulses and Fredo's drug-addled weak streak, stemming from a need to be respected by his father and from Kirill's realization that he's not measuring...

Author: /time Magazine | Title: Two Weird Canadian Geniuses at Toronto | 9/10/2007 | See Source »

...star quality. Raymond agonizes about his family back home; Kolya never visits or mentions the family he must have left stranded. Raymond hates U.S. politics, but the disco beat pulsing from Kolya's tape deck calls him home. Good idea, Ray, since the cagey beast from the KGB (Jerzy Skolimowski) hates blacks...

Author: /time Magazine | Title: Cinema: Dancing down the Steppes | 4/18/2005 | See Source »

MOONLIGHTING Directed and Written by Jerzy Skolimowski...

Author: /time Magazine | Title: Cinema: Polish Yoke | 10/11/1982 | See Source »

...stylistic totalitarianism with deadpan comedy, and reveals its message through vignettes, moods, gestures, faces. Jeremy Irons' dour, handsome face suggests the first strokes of a political cartoon from an East European underground newspaper. Nowak is the story's narrator, its star and its sensibility, and Skolimowski challenges the viewer both to sympathize with the hopelessness of Nowak's situation and to judge his complicity in it-to be Nowak and to see him clearly. Irons, the obsessive puppy of The French Lieutenant's Woman and the genteel twit of Brideshead Revisited, rises...

Author: /time Magazine | Title: Cinema: Polish Yoke | 10/11/1982 | See Source »

...earlier films (Barrier, Hands Up, The Shout), Skolimowski has sometimes been too ready to sacrifice social feeling for a quicksilver cinematic intelligence. Moonlighting has its share of incongruous images (a flowerpot Nowak discovers in a toilet bowl) and gorgeous ones (a sweetly comic Degas overtone as one of the laborers reposes in a bathtub), but every shot is there to serve, heighten, reveal. The mundane and the surreal are one: Nowak sees images of his beloved, perhaps unfaithful wife Anna in a store window, on TV, naked in a cellar apartment. She is the vision-memory of all the hopes...

Author: /time Magazine | Title: Cinema: Polish Yoke | 10/11/1982 | See Source »

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