kubrick2899 THE EIGHTIES marks the turning point in Chantal Akerman's career. It stands as the end of her more experimental films of previous years and as the beginning of her more mainstream efforts of later years. The bulk of the film consists of auditions and rehearsals for a musical. In the final act, we get to see some segments of that musical. It's a wholly original and brilliant motion picture experience. Like most of Akerman's films, though, it's not for everyone. Her films are experiences for those who aren't into mainstream cinema. The songs in the film are catchy and unforgettable, and it's a special treat to see Akerman herself pop in a few times and give the performers some direction. The only downside of this film is that it's only available on an old VHS. The Criterion Collection has gotten a hold on her earlier films; maybe some day they'll get a hold of this one, as well. Another interesting aspect to this film is that it serves as a prelude to her next feature film, GOLDEN EIGHTIES or WINDOW SHOPPING.

Brian Leonard This is probably the most excruciatingly boring film I've ever seen. I saw the American premiere at the New York Film Festival, and its 82 minutes seemed like an eternity in the dentist's chair--the one played by Laurence Olivier in Marathon Man. I was one of the many people who booed loudly at the end. One of my companions didn't boo--he was still asleep, lucky guy. The plot? All I remember is that it seems to be an audition for a musical, with an endless parade of women performing the same lines/songs/dances over and over and over. The greatly flawed film version of A Chorus Line is a masterpiece compared to this snooze-fest. You'd have to pay me to see another Chantal Akerman movie.