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Your Favourite Bond... ?

Program Running Time 120 min.

Films in Program

(120 mins)

Vote for your favourite James Bond film and help choose the last night of our series. Explain why it’s your favourite and you could win free tickets to the film of your choice and the chance to introduce the movie to the audience. Vote in person at the Vancity Theatre ballot box or by email to Bond@viff.org.

Vancouver Singapore Film Festival


Films in Program

Man with the Golden Gun

Program Running Time 125 min.

Films in Program

Directed By: Guy Hamilton
(GB, 1974, 125 mins, Blu-ray Disc)

Bond goes to Thailand in Roger Moore’s second outing (after Live and Let Die). Christopher Lee (Ian Fleming’s cousin) is excellent as the villain, Scaramanga, and he brings out what may be Moore’s strongest performance.

Licence to Kill

Program Running Time 133 min.

Films in Program

Directed By: John Glen
(GB, 1989, 133 mins, Blu-ray Disc)

Timothy Dalton’s second (and last) Bond movie is one of the least typical but also one of the most satisfying on its own terms. It’s a revenge movie, for one thing, with Bond going AWOL to take on a ruthless Mexican drug baron (Robert Davi).

View to a Kill

Program Running Time 131 min.

Films in Program

Directed By: John Glen
(GB, 1985, 131 mins, Blu-ray Disc)

Roger Moore’s seventh and final Bond movie is absurd - but how to resist a film where the baddie is an industrialist intent on destroying Silcon Valley to create a monopoly on microchip technology (Bill Gates, meet Max Zorin)?

"A View to a Kill, is an especially satisfying encounter. Opening with a breathtaking ski chase in Siberia, A View to a Kill is the fastest Bond picture yet. Its pace has the precision of a Swiss watch and the momentum of a greyhound on the track. There is a spectacular chase up and down the Eiffel Tower and through Paris streets, which Bond finishes in a severed car on just two wheels. But none of the action prepares the viewer for the heart-stopping climax with Zorin’s dirigible tangled in the cables on top of San Francisco’s Golden Gate Bridge." Lawrence O’Toole, Maclean’s

World Is Not Enough

Program Running Time 128 min.

Films in Program

Directed By: Michael Apted
(GB, 1999, 128 mins, Blu-ray Disc)

n the 19th Bond adventure, 007 (Pierce Brosnan) must resolve a potentially deadly power struggle between two unstable nations, with control of the world’s oil supply as the ultimate prize.

Moonraker

Program Running Time 126 min.

Films in Program

Directed By: Lewis Gilbert
(GB, 1979, 126 mins, Blu-ray Disc)

Probably inspired by the success of Star Wars, James Bond went into outer space in Moonraker, one of the most popular of the series. It’s got amazing aerial stunts, some of designer Adam’s most inspired sets, a creepy villain in Michel Lonsdale’s Hugo Drax and Richard Kiel is back as the giant, metal-toothed henchman Jaws.

"Irresistibly entertaining." Frank Rich, Time

"A minor masterpiece." James Monaco, The Connoisseur’s Guide to the Movies

"One of the most buoyant Bond films of all." Vincent Canby, New York Times

Benefit for Tohuko Children's Village


Films in Program

Terms and Conditions May Apply

(2013, 79 mins, Blu-ray Disc)
Director:
CAST Mark Zuckerberg, Eric Schmidt

Showtimes

No one really reads the terms and conditions connected to every website they visit, phone call they make or app they download. After watching this provocative exploration of what actually lies between the lines of those tiny-font agreements, however, you may just hurl your computer out the window and take to a cave. With fascinating examples, comical gags and terrifying facts, filmmaker Cullen Hoback investigates what governments and corporations are doing with your “personal” information. Regardless of privacy settings, data is being collected and behaviour is being monitored—as you read this, in fact—leaving the future of civil liberties uncertain. But are we really living in such a dystopian conspiratorial world? From whistle blowers and investigative journalists to zombie fan clubs and Egyptian dissidents, this disquieting exposé demonstrates how every one of us has incrementally opted into a real-time surveillance state, click by click. (Myrocia Watamaniuk)

"This documentary should be mandatory viewing for everyone who uses the internet." John Ford, Slug Magazine

"If you believe the privacy promises of online giants like Google and Facebook, then Cullen Hoback’s doc will remove the scales from your eyes and your hand away from your mouse." Peter Howell, The Toronto Star

"Witty yet chilling." Brian D Johnston, Macleans

Museum Hours

(2012, 107 mins, DCP)
Director:
FEATURING Mary Margaret O’Hara, Bobby Somer
Classification:

Showtimes

Given unprecedented access to one of the world’s great museums, Vienna’s Kunsthistorisches Art Museum, Jem Cohen has crafted a delicately overwhelming narrative about observation, loneliness, the city, the transience of all things and how art shapes and reflects daily experience. And a whole lot more. In an unremittingly gray Vienna cityscape, two people unite—museum guard Johann (Bobby Sommer) and Anne (Canadian music legend Mary Margaret O’Hara), a first-time visitor from Montreal who has come to Vienna to attend to a hospitalized distant cousin. In this late capitalist, Internet age, they get to know each other through personal contact and conversation, both inside the museum itself and in ersatz representations around the city (the hospital, a café with walls lined with photographs).

The key scene in Museum Hours takes place in the majestic Breughel room, where a guest lecturer argues that Breughel gave landscape in and of itself its due for the first time, and proposes alternative interpretations for the focal points of his paintings. This interpretive speech clarifies all the inserted 16mm fragments of Vienna cityscape that came before, and changes the way one sees things after: Cohen has constructed a radical work poised between documentary and fiction where the boundaries of the frame are infinite. When you come to understand that everything is of equal value in this huge film, and you’re left to make your own connections between them, it’s truly liberating. And the paintings are breathtaking.

"On the one hand a sad, poignant character study, "Museum Hours" is also a treatise on art history and a love letter to architectural wonder. A-" Eric Kohn, Indiewire

"Engaginly offbeat… Cerebral stuff, but delivered with warmth, wit and quiet confidence." Stephen Dalton, Hollywood Reporter

"Delightfully accessible…filled with gently moving wit." Ken Eisner, Georgia Straight

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