Gods and Generals (2003)
(Old Pen)
Seasick (1996)
aka. "Merisairas"
(Mantz)
A freighter crew slowly succumbs to the pressure and the numbing boredom imprisoned
at sea, because they carry a deadly cargo in this psychodrama. Because her holds contain
toxic materials, the ship Pandora has been banned from all ports for several months.
Matters grow worse when eco-terrorists assault the ship. — Sandra Brennan (All Movie Guide)
Sparrow [aka. "Storia di una capinera"] (1993)
(Giuseppe)
It is the 19th century in Italy, and Maria (Angela Bettis)
has joined a convent in order to explore her strong feeling that she has a calling to become
a nun. She has adapted to live at the convent quite nicely, and is relatively untroubled,
but a cholera outbreak sends her back to be with her family for a while, near the steaming
peak of Mount Etna. She enjoys her freedom to move around the countryside, and is wooed
by a charming young man named Nico, but returns to the convent when the danger is past.
There, she is troubled by the thought that she truly loved Nico, and that her calling may not
be as firm as she thought. When she learns that Nico has married her sister, she nearly goes
mad with self-recrimination.— Clarke Fountain (All Movie Guide)
Robocop 3 (1993)
(Paul McDaggett)
In this second sequel to Robocop, the mechanical humanoid opposes the evil designs of his
creators who have gone corrupt and are trying to take over all real estate in Detroit.
Dealers (1989)
(Frank Mallory)
The personal dealings of high finance set the stage for this drama. The London branch of
Whitney Paine, a major American investment bank, is in the midst of a crisis. One of the
leading traders has committed suicide. Daniel Pascoe (Paul McGann), the leading trader,
is convinced that he's first in line to take his place, but the firm imports a new trader from
America.
King David (1985)
(Abner)
Director Bruce Beresford has safely stayed within the domain of the Bible and not strayed
into patches of Hollywood fiction in this routine version of the story of David (Richard Gere).
For that reason, anyone unfamiliar with Biblical history might be puzzled by the episodic
presentation of David's life. In the opening scenes, Samuel condemns Saul and anoints
the young David as his heir, and in fairly quick succession David slays Goliath, incurs Saul's
jealous wrath, leaves, and much later comes back to rule after Saul has died. Interspersed
are brutal scenes of fighting, but not much in the way of motiviation for David's complex
behavior. That and gaps in the narration may be the result of trying to cover too many
events in a 114-minute running time. — Eleanor Mannikka (All Movie Guide)
Never Never Land (1980)
(Jim)
This moving, well-acted drama concerns a child who,
left alone, resorts to fantasy. She forms a friendship with a lonely old woman (Cathleen
Nesbitt) that fills gaps in both their lives. This film tugs at the heart with much grace.--(TV Guide)
Eagle's Wing (1979)
(The Priest)
Though made in Britain and Europe, this film qualifies as a western. Easterner Pike (Martin
Sheen) does a lot of growing up in a hurry when he becomes a trapper Out West. By mid-film,
Pike is accomplished enough to compete with Comanche chief White Bull (Sam Waterston)
over possession of a white, wild stallion. The film contains subliminal pro-ecological and
pro-tolerance messages, courtesy of its politically-minded stars and the screenplay.—
Hal Erickson (All Movie Guide)
Eliza Fraser (1976)
The action begins in the young penal colony of Sydney in 1876. Captain Fraser
and his wife, Eliza, are departing for England in their ship "The Sterling
Castle". They give passage to a young rake Captain Rory McBride (John Castle),
who is fleeing the results of his amourous escapades. He soon turned his attention
towards Eliza, and her husband puts into the Penal Colony of Moreton Bay to get rid
of the young man.
The Incredible Sarah (1976)
(Damala)
Every so often, an actor or actress will achieve a fame which transcends any memory of
their work, and they become synonymous with the word "star". Sarah Bernhardt (1844-1923)
was one such person. A comanding performance by Glenda Jackson towers over this
episodic drama chronicling the early life of legendary stage actress Bernhardt. The film
follows Bernhardt's career trajectory from her early years on the French stage, through a
period of celebrity and notoriety, until an early comeback at the age of thirty-five. —
Paul Brenner (All Movie Guide)
Made (1975)
(Father Dyson)
In this drama, a young woman must cope with the stresses of single-parenthood and of
dealing with a terminally ill mother. Adding to her stress are a young priest and a rock
star, both of whom want her. — Sandra Brennan (All Movie Guide)
Antony and
Cleopatra (1973)
(Octavius Caesar)
More Antony and Cleopatra
Bringing Shakespeare's Antony and Cleopatra was a long-standing dream project of
Charlton Heston, who directs as well as stars. Hampered by a nonexistent budget, Heston
and his fellow troupers serve up a production that would do justice to a good touring
company. The film soars whenever the actors soliloquize in close-up.— Hal Erickson
(All Movie Guide)
(1972)
(The Duke-Dr. Sanson Carrasco)
This is a film version of the popular musical. It begins in a 17th-century dungeon during
the Spanish Inquisition, where Miguel de Cervantes (Peter O'Toole) spends the days
writing his famed tale about his errant knight Don Quixote de la Mancha. Cervantes
impersonates his creation and Quixote is seen traveling the Spanish countryside with his
loyal servant Sancho Panza (James Coco). He comes across the wench Aldonza
(Sophia Loren), whom he mistakes for the pure Dulcinea. He vows eternal devotion, and
defends her against the muleteers. However, when they are vanquished, a mysterious
knight appears to do battle with Quixote.— Paul Brenner (All Movie Guide)
The Promise (1969)
(Marat Yestigneyev)
More of The Promise
A sentimental romantic triangle between two Russian soldiers and a homeless
peasant woman. It takes place during World War II, during the Nazis attempt to siege
Leningrad. Directed by Michael Hayes, screenplay adapted from play by Aleksei Arbuzov.
The Lion in Winter (1968)
(Prince Geoffrey)
The year is 1183. Like many a modern-day politician, Britain's King Henry II (Peter
O'Toole) finds it occasionally useful to bring his wife Queen Eleanor (Katharine Hepburn)
out of exile to join him and their three sons (Richard the Lion-Hearted [Anthony Hopkins
in his film debut], Prince Geoffrey, and Prince John [Nigel Terry] for a family reunion. He's
trying to prevent the balance of power shifting too much to one of them. In play are also
the King's mistress (Jane Merrow) and her brother the King Philip of France (Timothy Dalton).
Adapted by James Goldman from his own stage play.
Blow Up (1966)
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