Our reviewers select and review the best independent and foreign films on amazon.com, cd universe, and netflix

Pusher (Denmark 1996, 105 min, dir: Nicolas Winding Refn, cast: Kim Bodina, Laura Drasbaek, Zlatko Buric )

Frank (Kim Bodina) loses the dope, is broke, and the drug boss Milo (Zlatko Buric) wants his money. What else is new in the underworld? But Pusher is a breakthrough movie. When it was made, well before Alejandro Gonzalez Inarritu’s film,21 Grams, Brian De Palma’s Scarface was still the model for a pusher movie.

Pusher built the genre in a different direction. Dope dealer Frank is not misunderstood or charmingly lethal. He is just a nice average guy trying to dig himself out of a hole that keeps getting deeper while Vic, the girl who loves him (Laura Drasback), stands by hoping he’ll figure it out.

Refn creates a documentary style to follow the action in long takes and subjective pans to cover dialogue between characters. If it looks familiar now, it is because half a dozen TV police shows use it. His inspiration was not police stories, it was horror movies like Texas Chainsaw Massacre he watched as a child.

The director’s genius is building off-beat characters that start out unlikeable and slowly make us warm to them as they struggle but miss all chances at redemption. Pusher, Pusher 2, Pusher 3 and Drive follow this model.

Best to see all of these together. They offer lessons in cinema style as well as consistent character development. Drive is an American movie (MovieWithMe) but it follows the same rules of Refn’s view of characters: the arc goes through thwarted expectations to thwarted resolution.

This single-minded vision is probably what has protected Refn in the transition to Hollywood films. It is also what probably got him thrown out of the American Academy of Dramatic Arts when he threw a table at the wall in an argument with a teacher.

Let It Rain (France 2008, 110 min, dir: Agnes Jaoui, cast: Agnes Jaoui, Jean Pierre Bacri, Jamel Debbouze).

Is it the director’s revenge to cast your husband as the asshole? Agnes Jaoui is an excellent French actress who directs her second film Let it Rain. Her real life husband, Jean Pierre Barci plays Michel, an oafish video maker who is making a documentary about her.

She’s running for the legislature representing a section of Provence. Actually the district is called Rhone-Alps. We know this because the financial key to many French films making a deal with one of the regions (departments) to promote tourism. They give you production money and you try to feature their landscape, towns, hotels, and restaurants.

Agnes, as Agatha, undergoes a tireless round of family squabbles and minor irritations in her quest to win the election. Michel and his brighter sidekick, Karim (Jamel Debbouze) never seem to be able to say “action” and “cut” in sync.

So it goes. The film has a woman director’s touch in lingering moments between Agatha sister, her children, and a somewhat estranged male companion. One of the standout elements of the film, besides a good catalogue of places to eat and sleep in Rhone-Alps (you can watch this film while open to Trip Advisor)– is the music. Mostly Schubert but supplemented with wild brass band music from Santiago de Cuba. It gives us a taste of the unique sound of this east end of Cuba city usually eclipsed by Havana sounds.

After noting restaurants for your next visit to France, it’s worth a click to iTunes to download a sample from Santiago de Cuba. All your friends will marvel at the range of your tastes.

Soul Kitchen (Germany 2009, 99 min, dir: Fatih Akin, cast: Adam Bousdoukos, Mortiz Bleibtreu).

A Turkish director makes a film about a Greek restaurateur in Hamburg, Germany. Soul Kitchen is no Euro Pudding: the derogatory name given to coproductions that pluck money from several countries and weave a mix of actors, locations, and crew to take advantage of money-saving treaties.

The mystery here is not why anyone would make this very lively and pleasant film, but why Fatih Aikin made it? His more soulful films include Head On and The Edge of Heaven (MovieWithMe). In contrast, Soul Kitchen is a bouncy stories about an ambitious young business hustler (Adam Bousdoukos),who manages to overcome a temperamental chef (Morirz Bleibtreu), an absentee girlfriend, and a host of other characters and crazies: All to make a success of his soulful little eatery.

Fatih Akin grew up in the Turkish community of Hamburg. The Germans invited thousands of Turks to become guest workers in the auto plants in the 1970′s when business was booming and their was a labor shortage. They never dreamed that forty years later the Turks would still be there. It is now common to see women on the streets with chadors over their faces. The Kruetzburg district of Berlin has the best Turkish food west of Istanbul and east of New York.

It’s not easy growing up in a foreign culture that is your culture. Especially when the “foreign” and “your” are forever confused. If only the Germans would see you as one of them rather “them.” Some of Aikin’s acclaimed films offer glimpses of what this cultural confusion is like.

But Soul Kitchen is the froth on a cappuccino by comparison. Maybe he took a break from deep melodrama to make it. Maybe the burden of telling the Turkish story is lifting.

And maybe it was time to make a film that was just good entertainment. Take your pick of motives. The watchable result is all that matters.

Love Ranch (USA 2010, 117 min, dir: Taylor Hackford, cast: Helen Mirren, Joe Pesci, Sergio Peris-Mencheta).

Helen Mirren has a few sexy miles left in her even when surrounded by a trailer full of gorgeous Nevada whores half her age. She climbs into bed with Spanish hunk Sergio Peris-Mencheta (Armando) who is 30 years her junior.

Why would the actress who won an Oscar for playing Queen Elizabeth (The Queen) want to play the wife and partner of a desert brothel owner (Joe Pesci)? Probably for the same reason Meryl Streep followed It’s Complicated with The Iron Lady.

Actresses of a certain age (Mirren was born in 1945, Streep claims 1949) need to follow class with ass or visa versa. Otherwise they only get offered the roles for wordly wise, flinty, post menopausal grand dames. No one wants to be told, “you’d be perfect as Mother Teresa.”

Love Ranch is very very loosely based on the goings on at the Mustang Ranch near Las Vegas. Charlie (Joe Pesci) and Grace (Helen Mirren) run the joint successfully until Charlie decides they should branch out into the prize fight business. Armando is an Argentine boxer down on his luck. The real Sergio Peris-Mencheta ia actually a Spanish heart throb from Mardrid. He pucnhes his way into Grace’s tough-love heart. His performance is worth the movie.

Digesting the plot requires some teeth gnashing, but there are so many really good scenes you (almost) forgive the rest. Taylor Hackford started his career in documentaries, and maybe this vison of hot sex on the cold desert plateau based on a true story was a reminder of his doc days working for Public TV.

Or maybe it was a chance to give his wife, Helen Mirren, a sexy star turn to wash away the preception that she was more regal than Queen Elizabeth.

Funny how male English actors don’t suffer from being called Sir or Lord, but if a woman is called Dame she’s expected to wear long skirts and go teas. Love Ranch has Helen Mirren playing a nude love scene. See it; because it may be the last time anyone wants to look.

Centurion (UK 2010, 97 min. dir: Neil Marshall, cast: Michael Fassbender, Olga Kurylenko, Imogen Poots).

Running movies never run out of breath. The curious question with Michael Fassbdender is: after revealing the super size of his penis in Shame, how he can run at all?

Centurion takes us to Britain in about 100 AD where the Romans have met their Afghanistan. Their idea was to bring civilization to the wild country up north; but it has pretty much failed. Picts and Brigantes roam the Highlands picking off the Romans with what will, a few thousand years later, be called guerilla warfare.

All of this really doesn’t matter much in a Neil Marshall movie (Descent, Dog Soldiers). The important concept in any running movie is to get them running. The best stripped down example is Cornel Wilde’s The Naked Prey.

Cornel (Kornel Lajos Weisz: nobody is born with a name like Cornel Wilde) is leading a hunting party into darkest Africa when they violate some tribal rules of hospitality. All the white men are captured and roasted alive or worse.

But they’ve got another game for Cornel. They strip him naked, set him running, and send the warriors after him to kill him. That’s the whole move, and it’s actually excellent.

In Centurion, the Roman 9^th legion is destroyed in a battle with the Picts when their Brigantian scout, lovely Etain (former James Bond girl Olga Kurylenko), turns out to be working for the Picts. The Roman general is captured while a handful of dazed soldiers surreptitiously crawl out from under the dead.

They go to the Pict camp to save the general, but end up killing the chieftain’s little son. He’s so upset that he has Etain duel it out with the general and kill him. Next he sends his warriors out to slash down Quintas Dias (Michael Fassbender) and his gang. They keep running until they meet Arianne (Imogen Poots) who is so beautiful it is worth staying a while. She’s an outcast accused of witchcraft and takes a liking to Quintas (although it may be she likes the part of him he’ll reveal in Shame).

He leaves her to run into Hadrian’s Wall (under construction at the time). He’s a liability to the Romans because he knows they are losing. General Hadrian has his daughter try to kill him (women are the master assassins in this movie). Quintas runs away and joins Arianne in her clay and wattle hovel. He’s going to hang up his Nikes and stay put for a while.

Don’tt expect to learn much about Roman history in Centurion, or to understand why all the Roman’s speak good British English and all the Picts use subtitles. Just enjoy the jog.

The Misfortunates (Belgium 2009, 108 min, dir: Felix Van Groeningen, cast: Kenneth Vanbaeden, Valentijn Dhaenens, Koen De Graeve, Wouter Hendrickx, Johan Heldenbergh, Bert Haelvoet, Gilda De Bal).

All Belgium is divided into two parts: both equally disgusting. Wallonia is the French speaking south and Flanders is the Dutch speaking north. Memorable moments in the south include the man made tourist hill that desecrates the battlefield of Waterloo. The north features stinky rail stations, diesel fumes, and one excellent national dish: French fries.

It is no wonder Belgium filmmakers produce mainly comedies. The whole country is a bad joke. In Paris they don’t tell Polish jokes, they tell Belgium jokes.

In this maze of train tracks, unpronounceable town names, and badly poured concrete; director Felix Van Groeningen introduces us to the Strobbes. Four grown brothers, their mother, and a thirteen-year-old son of one of the brothers make up this household.

Activates include beer drinking, swearing, dressing up as women, drinking, naked bike races, drinking, and trying to get that final gulp before the shakes hit you so bad you can’t hold your glass. Finding humor in all this is Van Groeningen’s art and he does it very well. At first you want young Gunther (Kenneth Vanbaeden) to escape. Later you think, escape to what? The adult version of Gunther (Valentijn Dhaenens) still lives by the railroad tracks and is poor, but now he is an author writing about this brilliant time in his life that we see in flashbacks.

How can you hate guys who make fun of the prim social worker sent to check on young Gunther when her name is Miss Fockaday? The film is like a Sunday afternoon in a roadhouse bar where you might as well join the party because they’re having such a good time.

The Chaser (Korea, 2008, 125 min, dir: Hong-jin Na, cast: Yun-seok Kim, Yoo-jeong Kim, Jung-woo Ha).

Along with apple pie, the US culture can take credit for police procedural and gangster films. Competition is heating up in Korea, France, Denmark, Brazil and a handful of other countries where directors have learned the art of the car chase, the interrogation, the cynical rogue cop and the clever psychopath.

In The Chaser, Joon-ho Eom ( Yun-seok Kim) is the rogue cop turned pimp who sends his girls out to the grittier districts of Seoul. When one of them sends panicked cell phone calls back to him he frantically tries to find her and save her. She’s disappeared but the killer is in plain site.

Without evidence, and scorned by the police he once worked with; Joon-ho starts a long slog to bring down the killer (Jung-woo Ha). Along the way he bursts into his former whore/employee’s apartment for evidence and meets her little daughter (Yoo-jeong Kim).

From then on the movie has to follow the inevitable march to a life or death fight with the killer while the hero takes care of, and falls for, the adorable precocious child.

It all sound like we’ve seen it before, but the strength is in the delivery. Pathos, comedy, and great fights. The Casher is writer/director Hong-jin’s first film. The Yellow Sea is his second. He’s worth a look at both films.

Holly Rollers (USA 2010, 89 min, dir: Kevin Asch, cast: Jesse Eisenberg, Justin Bartha (best friend), Ari Graynor (girl), Danny A. Abeckaser, Mark Ivanir).

Poor Jesse Eisenberg, he’ll always be the Jew. If you look through his credits he’s played guys named Eli, Daniel, Benjamin and Mark (twice). In Holy Rollers he is Sam Gold, and orthodox black hat Jew in Williamsburg, Brooklyn who forsakes davening for the drug trade.

Eisenberg is an excellent actor and director Kevin Asch makes the point in his movie (based on a real story) that if you take away the tzitzis and black coats, these guys and their girl (Ari Graynor) are no different than any other punk Ecstasy pushers.

When you look at Jesse dressed up as a Hassid, you can’t help thinking what Mark Zuckerberg might look like if Facebook went kosher. Zuck might be one of the richest men in the word but he has the sex appeal of a gnat.

One scene that also gives some deja vu thoughts in Holy Rollers is when Sam’s (Jesse Eisenberg’s) father sits him down at the dining room table and says the Rabbi told him Sam is not coming to shul anymore. Sam tries to regain his father’s confidence by telling him he is still religious and his goal is still to be among the faithful; but to no avail.

We’ve been here before. Let’s flash back to 1927 and The Jazz Singer (or 1952 or 1980 for the remakes). Al Jolson tells his father he wants to sing jazz, not kol nidre, and is disowned. Holy Rollers gives it new twist. Now it’s ‘Dad, what I really want to do is deal drugs.”

Drive (USA 2011 100 min. dir: Nicolas Winding Refn, cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Ron Perlman).

Albert Brooks was born Albert Einstein. He decided it wasn’t a good name for a comedian. Watching him through Real Life, Defending Your Life, and The Muse he might have stayed with the Einstein name. He’s that good. Each film is a slightly flawed gem that still manages to offer pointed satire on American life while shamelessly focusing on its spotlight-hogging star.

The genius he brings to Bernie Rose, the character he plays in Drive, is the embodies the characters he plays in all his earlier films but with a world-weariness that has turned him lethal. There’s the same “wouldn’t you know it” sigh and resignation but now the disappointment is not losing all his money in Las Vegas and ending up a school crossing guard; but seeing his gang fuck up the big one and sadly setting it right by killing everybody.

His scene with Shannon (Byran Cranston) is one of the coldest murders ever on screen. Bernie slashes the artery in his arm and says sympathetically, “that’s it, no pain,” as if he was Shannon’s nice guy father come to administer a little spanking to a child who knows he has it coming.

Brooks is not the star of Drive. That honor belongs to Ryan Gosling, who drives the movie extremely well. And the cool-y observed existential LA of nights and freeways is the amazing creation of Nicolas Winding Refn, the director. Every generation creates their LA existential movie. Refn: a Dane from New York and Copenhagen has defined it for the now we live in.

But the movie belongs to Albert Brooks as much as another movie with a great heavy many years ago belonged to another comedian. That film was about a pool shark at the end of his days much like Drive features a petty mobster at the end of his days. Brooks looks at the racer up on a grease rack and says his name could have been on the side. Jack Gleason looked at a pool cue in The Hustler and thought he could come back for one more win. Both movies show us what happens when laugher turns to anger and younger men snatch the dreams. See them both.

Title : Dastak
Year : 1970
Directed by Rajinder Singh Bedi
Starring : Sanjeev Kumar, Rehana Sultan, Manmohan Krishan, Anwar Hussain and more
Music : Madan Mohan, Lyrics : Majrooh Sultanpuri

There was a time when Film-making in Bollywood, used to be solely dependent upon “The Writing” and its story content. An interesting plot depicting the social surroundings of the people was the first requisite of starting a project in those days. And that was the reason why we had so many famous writers from the world of literature working for films as the contributors of its story, dialogues, script and lyrics. Such was the depth in the basic idea behind all those movies that they still are studied as a benchmark in the history of Hindi Cinema after so many decades.

DASTAK (Knock) is one of those rare & bold movies made on an off-beat subject which surprisingly still remains relevant even today after so much development experienced all over by the society and its people. Revealing its outstanding thought provoking plot, just imagine the trauma faced by a newly-wed couple (shifted to their new house), after they are told that the house was earlier owned by a prostitute who was pretty famous in the locality and used to run her business right from there. Taking the viewer into the couple’s extremely tense and uncomfortable days in that house, the movie is a kind of philosophical journey digging into the various kinds of double standard personalities living around us in a society. Besides, it also re-defines the power of Tolerance possessed by a human which empowers him to surpass any unexpected tough condition in life with his precious patience.

Coming to the cream of talented people associated with the film, it is written, produced and directed by Rajinder Singh Bedi, one of the 20th century’s greatest progressive writers of URDU fiction. The name needs no introduction to the readers who are well familiar with Urdu Literature and its prominent writers. But the best thing is that here the original writer has himself directed the film in such a manner that it makes a very similar kind of impact as felt after reading the story in its published form. And that is not an easy task to achieve since there are very few movies which have been equally transformed into an enlightening visual experience taking it all from a book.

Featuring the one & only Sanjeev Kumar along with Rehana Sultana as the innocent couple, DASTAK is also known for its outstanding soul stirring musical score by the unmatchable Madan Mohan including the songs sung by the Queen of Musical Notes,Lata Mangeshkar. In fact the tracks are universally included in the list of The Finest Ever from this famous talented duo and can be found in the Top 10 List of both the magicians, compiled by any music critic or fan living anywhere around the globe.

More on bobbytalkscinema.com

This film available on Amazon.com,http://www.amazon.com/DASTAK-Sanjeev-Kumar/dp/B000I0RVTA/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1332081816&sr=1-1