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Cimno obviously hadn't learned from "Heaven's Gate", which isn't the disaster it's made out to be, just too long and too caught up in its subplots. "The Sicilian" copies the mistakes, but this time around it doesn't even have the beauty or breath of "Heaven's Gate". Nor its good actors. Christopher Lambert is a disaster in the title role. He tries to get by on his good looks and roguish twinkle in the eye, but his charisma is non-existent and it's hard to believe him as a folk hero who can move the masses. Helena Sukova is also a disappointment. Terrence Stamp's performance is hard to measure fairly, due to a poor dubbing job inflicted on him in post production. Only John Torturro as his usual nervous self is worth the money, as is Joss Ackland as the don of dons in Sicily.

Apart from the acting problems, this film is also spectacularly dull. Cimino stretches a repetitious, drawn-out story over almost two and a half hours, when 90 minutes and some judicious editing would have served him better here. Because things shuffle on at a snail's pace and many scenes seem completely superfluous (also known as the "Heaven's Gate" syndrome), the viewer quickly loses interest. Which in turn is a problem with this densely plotted and at times confusing film. There are so many betrayals, broken deals and secret alliances, that at some point the viewer is bound to be confused, especially if he's trying to keep up interest in a movie that doesn't deserve it. Seriously, give "Heaven's Gate" a try instead of this. You might lose an additional hour of your life, but you'll be awarded with a flawed epic instead of this epic failure.

The longest and certainly most ambitious music video Mylene Farmer created with Laurent Boutonnat, this one is a direct sequel to the video to "Libertine" (1986), which marked the first highly celebrated collaboration of the two. While that video broke new ground with its unprecedented sex and violence (specifically the full frontal nudity of the lead singer!), this is like any sequel: More of the same (well, almost, this time another girl goes full frontal), but bigger and bolder. So instead of nine minutes, this is almost twice as long, has longer dialogue scenes in the beginning and the end and features higher production values. This video looks like it took the budget of what most french art-house movies used at around the time. The results are undeniably impressive: The battle scenes at the end are fabulously staged, rather graphic and look like straight out of a feature film. The song itself, like its predecessor, is somewhat of a scandal to conservative ears, it's basically an ode to butt cheeks with the implied notion of eroticism revolving around them, either through caning (like in the video) or anal sex, as implied in the video as well. As usual, Farmer does bare her behind, too. But don't let the R-rated sex and violence scare you off, this is the most persuasive argument for music video as an art form, not merely a ploy to sell product. Like all her collaborations with Boutonnat until 1990, including "Tristana" and "Désenchantée", this is highly recommended for the way it promoted what music videos could do.