The Girls we Want

It's 1941. Robert E. Lee Prewitt has requested Army transfer and has ended up at Schofield in Hawaii. His new captain, Dana Holmes, has heard of his boxing prowess and is keen to get him to represent the company. However, 'Prew' is adamant that he doesn't box anymore, so Captain Holmes gets his subordinates to make his life a living hell. Meanwhile Sergeant Warden starts seeing the captain's wife, who has a history of seeking external relief from a troubled marriage. Prew's friend Maggio has a few altercations with the sadistic stockade Sergeant 'Fatso' Judson, and Prew begins falling in love with social club employee Lorene. Unbeknownst to anyone, the Japanese bombing of Pearl Harbor looms in the distance.

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Lea and Hanna, university students in Vienna, need jobs to make some money on the side. They could always wait tables—but call girls earn more. In DAY AND NIGHT Austrian director Sabine Derflinger takes an unreservedly matter-of-fact look at two young women who consider prostitution an adventure until reality catches up with them.

A small, poor village leaning over high rocky mountains, facing the immense sea, flanked by olive yards. Villagers are simple and diligent people who struggle to cope with a harsh nature. They earn their living, on a daily survival basis, out of the earth and of a few animals they feed. Just like the animals and trees around them, they have the knowledge of their temporary existence, hence a sober resignation prevails. They live according to the rhythm of the earth, air and water, day and night and seasons. The daily time is divided into five parts by the sound of the call to prayer. Every day, all human events are lived through within these five time slices. In child raising, grownups go on with the practice they have experienced by their parents. They expose their love awkwardly and consider beating a favorable method. Fathers always prefer one of their sons. Mothers command their daughters ruthlessly…

French provocateur Catherine Breillat (Fat Girl, Bluebeard) continues her deconstruction of classic fairytales with her latest, The Sleeping Beauty. Cursed at birth by an evil fairy, Anastasia is destined to prick her finger and die at the age of sixteen. When three feckless fairy sisters discover this they hatch a plan to alter the curse: rather than die, Anastasia will sleep for 100 years. While in slumber, Anastasia comes of age through a series of vivid dreams, filled with charming princes, dwarves, gypsies and magical creatures. When she reawakens a fully-formed adolescent, she finds that in real life, happy endings are more elusive than in our fantasies.

Fuyuhiko Nishi's "High Kick Girl!" is a sometimes interesting throwback to 70's martial arts films like "Gekitotsu! Satsujin Ken AKA The Street Fighter" and "Onna Hissatsu Ken AKA Sister Streetfighter" but ultimately fails to provide enough thrills or drama to keep viewers entertained. What we are left with is a plot-less and somewhat boring film whose only trump card is watching cute new comer Takeda Rina kick-ass quite impressively.
Takeda Rina is the latest in a wave of cute, martial artists breaking into the movie scene. In the last couple of years we saw the debut of two similarly lithe and deadly cuties in Luxia Jiang (star of "Coweb" and winner of Jackie Chan's "The Disciple" HK reality show) and Jeeja Yanin (Thai martial arts phenome and star of "Chocolate" and "Raging Phoenix"). Takeda certainly has the skills of an up-and-coming martial arts star being a 1st degree (Ichi Dan) Black Belt in Karate with the Ryukyu/Okinawan Shorin-Ryu Karate-Do Genshin Kai. With her tall lanky frame and long legs, Takeda's specialty seems to be high kicks to the heads of opponents, earning her the movie's title.
Takeda's impressive high kicks and cute face however can't save this "one trick pony" of a movie which suffers under the weight of a weak story and some terrible acting.

Barney Hopkins is producing a new show on Broadway, but the day before it opens, the set and costumes are confiscated due to not paid bills. Everybody is sitting on the street and due to depression there is no possibility for the three chorus girls Carol, Trixie and Polly. But they hear rumors, that Hopkins is producing a new show, they invite him and he promises to give them work - when he found a backer to produce it. He hears the tunes of the composer next door, Brad Roberts, Pollys friend. Brad joins them and is backing the show. On opening night he takes over for the juvenile lead, who suffers from lumbago. Roberts has been very publicity-shy, because he belongs to a wealthy upperclass family from Boston. When his family notices what he is doing, his brother Lawrence and their attorney Peabody come to New York, to end his relation with Polly. But he mistakes Carol for Polly, who does not correct his mistake. Lawrence decides to separate Polly from Brad by drawing her love on himself. But soon he realizes, that he is really in love with that chorus girl.

Martine Bressac is released from a psychiatric clinic after a year’s treatment and is driven home by her chauffeur, Mathias. She is welcomed by the demented hunchbacked gardener Malou and the mute servant girl Adèle, and impatiently demands the key to her mysterious private chamber. There, set out like exhibits in a waxwork, are the bodies of beautiful girls frozen in postures of terror on the point of death. With Mathias’ help, Martine has just added another girl, a prostitute, to her collection when her husband and accomplice, Charles, arrives home with slides of a further prospective victim: Cécile the virginal daughter of a diplomat…

Life of a Russian doctor/poet who, although married, falls for a political activist's wife and experiences hardships during the Bolshevik Revolution.