THE film that proved there was a lot more to Tina Turner than bad dancing and shaggy hair cuts.
After watching this biopic of her early life with Ike Turner, you'll never be able to listen to one of her records in the same way again, even though this film can hardly be described as an objective portrayal of their life together (Turner acted as on-set advisor).
According to this emotional rollercoaster of a film, Turner went through hell at the hands of her violent hubby, manager and producer, and when she finally left him after he'd made her a superstar, she had to start again with nothing. Well, we all know what happened from that moment, so let's concentrate on the film itself.
Angela Bassett and Lawrence Fishburne deliver tour de force performances as Tina and Ike, and both deserved their Oscar nominations. Fishburne's warts and all portrayal of Ike, who went from a charming romeo to a drug snorting monster, stands out particularly.
And naturally the soundtrack is as awesome as Tina Turner herself.
(Dir: Brian Gibson, 1993)
BLACKOUT EFFECT (C5, 9pm): MADE for TV movie that does little to excite the grey matter, and much to exercise the remote control finger.
Eric Stoltz and Charles Martin Smith (above) star in this below average thriller about an accident investigator trying to figure out whether a vengeful air traffic controller caused a mid-air collision.
The words of Clark Gable immediately spring to mind - frankly my dear, I don't give a damn.
(Dir: Jeff Bleckner, 1998)
SLEEPWALKERS (C4, 10pm): FRANKLY, a ridiculous film courtesy of another Stephen King horror novel.
This time, the heeby jeebies are provided by a family of furless werecats that can change their shape to look like humans and must drink the life force (whatever that is) of virgins to survive.
Now I know King has an active imagination for a fully grown adult, but this is ridiculous.
(Dir: Mick Garris, 1992)
DOLORES CLAIBORNE (C4, 11.40pm): ANOTHER King special, and this time it's a pretty good effort, mainly because Kathy Bates takes a starring role.
The last time she did that in a King adaption, Bates won an Oscar (Misery), so it's hardly surprising she steals every scene in this tale about woman accused of killing her employer and friend (Judy Parfitt ? above), and trying to convince her daughter she didn't do it.
(Dir: Taylor Hackford, 1995)
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|Publication:||South Wales Echo (Cardiff, Wales)|
|Date:||Jan 21, 2002|
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