DVDpedia : Library : Title : Q

Theatrical: 1982

Studio: Blue Underground

Genre: Drama

Duration: 93

Summary: OK, who's Q, anyway? "Q" is short for Quetzacoatl, an enormous winged serpent and Aztec deity who's called back to life after a series of ritual human sacrifices in Manhattan. It takes a lot to keep a critter like Q satisfied, so he flies around and lops the heads off sunbathers, window washers and swimmers as handily as popping grapes off the vine. The police are confounded by the murders, decapitated bodies (blood rains from the skies on NYC denizens) and Q-sightings. The solution comes in the unlikely form of Jimmy (Michael Moriarty), a petty thief. After a heist goes bad, he hides from his cronies in the uppermost spires of the Chrysler Building and stumbles on the giant bird's nest and egg. He leads the NYPD up to the lair for a big showdown with Q, but it's not quite as easy as anybody thought, of course. Director/screenwriter Larry Cohen was one of the more inventive, original voices of Seventies B-movies, with credits that include "God Told Me To, Black Caesar, It's Alive!, Hell Up in Harlem" and "The Stuff". With "Q", Cohen put together an interesting, entertaining mix of Fifties sci-fi homage (complete with great stop-motion special effects for the terrifying beast), action movie, and crime drama. It also touches on the metaphysical question of how exactly one goes about killing off a god. It'd be difficult to think of a more compelling performance from Moriarty; as the piano-playing, scat-singing small-time crook Jimmy, he's repellent and sleazy. However, he's struck on something that will give him 15 minutes to bask in the spotlight ("I'm the most important man in New York!", he gloats) and give him a chance to redeem himself and save thousands of lives. Moriarty brings a depth to the character that makes him absorbing, if not quite sympathetic, and gets to come across with the choice line, "Stick it up your…brain! Your small little brain!". With plenty of humor, suspense, a gallon or two of gore, and great performances from Moriarty and David Carradine and Richard Roundtree as his cop nemeses, this is great, original, entertaining sci-fi fare. "--Jerry Renshaw"

Theatrical: 2005

Studio: Beijing New Picture Film Co.

Genre: Drama

Duration: 107

Summary: In a village of fishermen in Japan, Takata misses his son Kenichi, to whom he has been estranged for many years. When his daughter-in-law Rie tells him that Kenichi is sick in the hospital, she suggests Takata to come to Tokyo to visit his son in the hospital where he would have the chance to retie the relationship. However, Kenichi refuses to receive his father in his room, and Rie gives a videotape to Takata to know about the work of his son. Once at home, Takata sees a documentary in the remote village Lijiang, in the province of Younnan, about the passion of Kenichi, the Chinese opera, where the lead singer Li Jiamin promises to sing an important folk opera on the next year. When Rie calls Takata to tell that her husband has a terminal liver cancer, Takata decides to travel to Lijiang to shoot Li Jiamin singing the opera to give to Kenichi.

Theatrical: 1979

Studio: Rhino / Wea

Genre: Art House & International

Duration: 117

Summary: Franc Roddam's terrifically energetic movie, set to music from the Who's "Quadrophenia", is--at the very least, the best film ever based on a rock album (and, yes, that includes, "Tommy", "Pink Floyd: The Wall", and "Jesus Christ Superstar"). Actually, this tale of the battle between two early '60s youth subcultures--Mods and Rockers--in the seaside teenage wasteland of Brighton, England, isn't so much a cinematic "version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. "Quadrophenia" is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock (The Who themselves were once rather Mod). The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. "--Jim Emerson"