Heathcote Williams Movies

When the mysterious death of a major athlete prompts Scotland Yard detective Roy Washburn (David Thewlis) to order the investigation of best-selling crime novelist Catherine Tramell (Sharon Stone), criminal psychiatrist Dr. Michael Glass (David Morrissey) is slowly drawn into Tramell's seductive world of lies and sexual intrigue in director Michael Caton-Jones belated sequel to Paul Verhoeven's 1992 erotic thriller. Upon relocating from San Francisco to London, alluring crime novelist Tramell once again finds herself pursued by authorities when all clues point to her being somehow involved in the death of a popular sports superstar. Intellectually intrigued by his new subject and undeniably drawn to her physically, Dr. Glass finds it increasingly difficult to resist the cunning black widow's devious web of deception and physical temptation. When the professional boundaries between Glass and Trammel come shattering down in a shower of unbridled lust, Dr. Glass is forced to make a difficult decision that could mean the end of both his professional career, and his life. ~ Jason Buchanan, Rovi

Following up on his innovative work Timecode, which featured four stories being told in real time simultaneously, Mike Figgis returns to a modified form of his technique in this film about the tourists, the prostitutes, the tour guides, a killer, and a film crew who frequent the Hungarian Palace Hotel in Venice, Italy. A corrupt Eastern European politician and his moll are visiting the city to complete a shady business deal while Sophie is a high-priced call girl who makes an office in one of the hotel's suites. The film crew is attempting to shoot a Dogma 95-style adaptation of John Webster's The Duchess of Malfi only to run into one problem after another. Magic is a professional assassin with a very odd kink -- he must have sex immediately after completing a job. Quintus, who abandoned his attempts to get fame and fortune as an actor, is a tour guide with an unusual secret. And then there is maid who not only has the skeleton key to the hotel, but also a habit of snooping. This film was screened at the 2001 Toronto Film Festival. ~ Jonathan Crow, Rovi

On the 1st of January in 1900, Danny Boodmann (Bill Nunn), the mechanic of the transatlantic liner Virginian bound for America, finds an abandoned baby on board and decides to keep him. Nicknamed Novecento (1900), the boy grows up on the ship hidden from everyone. His presence is revealed when Danny dies in an accident. The young '1900' manages to hide again despite threats from the captain. Discovering a passion for music, he teaches himself to play the piano without being able to read the notes, and he soon becomes a virtuoso whose reputation spreads beyond the confines of the ship. Even the famous jazz piano player, Jelly Roll Morton (Clarence Williams III), gets on board for a challenge because he has heard rumors about the greatest piano player in the world living on a ship. The story is told by Max Tooney, Novocento's old trumpeter friend, who reminisces about the incredible pianist who never set foot on land. After two films about cinema, Giuseppe Tornatore comes up with the story of a highly imaginative artist who lives only for and through his art. Tornatore was inspired by a theatre monologue written in 1994 by Alessandro Baricco, and the film was shot partly in Odessa, on a sixty-year-old Russian freighter, and partly in the Cinecitta studios in Rome. Tim Roth's performance as the talented but reserved Novocento is remarkable, and the music of Ennio Morricone plays a vital role in the film. La leggenda del pianista sull'oceano, which was retitled The Legend of 1900 for US distribution after forty-five minutes have been cut, was originally two hours and forty minutes when it was shown to great success in Italy in autumn of 1998. The US version had its world premiere at the 1999 Locarno International Film Festival. ~ Gönül Dönmez-Colin, Rovi

Maverick filmmaker Sally Potter, who won acclaim in 1993 with the gender-bending, history-warping Orlando, returns to her dancing roots with The Tango Lesson. Potter wrote, directed, and starred in the film, also assembling the soundtrack, dancing, and even singing the film's final song. Potter was trained as a dancer in London in the 1970s before turning to film. Here, she plays Sally, a character who is essentially herself. Sally is a screenwriter suffering from writer's block and dissatisfaction with her own project, a murder mystery movie called Rage which focuses on the fashion industry. To take a break, she travels to Paris, where she sees the dancer Pablo Veron perform the tango. She becomes obsessed with the dance and offers Veron a part in her film in exchange for lessons. The two become deeply involved as dancers and as lovers, and their emotional intimacy threatens the success of their dancing together. The film is shot mostly in black and white, except for some dream sequences in which Sally fantasizes about her film project. Veron performs many modern dance numbers, including tap and ballroom dancing, as part of his tango repertoire. ~ Michael Betzold, Rovi

The naked body of a murdered little girl is found in a forest surrounding a small Eastern European town. It's the third case in a row, and local police detective Victor Marek (Richard E. Grant) is on the killer's trail, but his superior, Novak (James Laurenson), needs to solve the crime quickly in order to boost his political career. So he arrests some suspicious hippie who later hangs himself in a prison cell. Though Marek is ordered to close the case, he continues to work on it on his own. He rents an old gas station and a house in the area where the murders took place. Working from a drawing done by one of the murdered girls he tries to find the clues for the identity of the killer. Marek becomes so obsessed with his quest that when he meets Milena (Lynsey Baxter), a single young woman with a little daughter (Perdita Weeks), he does not hesitate to use the child as the bait for the criminal. Though the film plot bears a strong resemblance to Sean Penn's movie The Pledge, it is actually a remake of the 1958 German film It Happened in Broad Daylight, scripted by Swiss writer Friedrich Dürrenmatt, who later reworked his original screenplay into the novel The Pledge. ~ Yuri German, Rovi

Forty-three years after the first screen treatment of Terence Rattigan's play about a teacher facing the end of his career, Albert Finney takes on the role of Mr. Crocker-Harris, the Latin teacher forced into early retirement by a heart condition. After teaching in a public school for twenty years, Crocker-Harris is being put out to pasture in a less stressful job teaching English to foreigners. Meanwhile, his home life is also falling apart: his wife (Greta Scacchi) is having an affair with the American chemistry teacher (Matthew Modine), who nevertheless admires Crocker-Harris for his dignity and decency. Through it all, Crocker-Harris hides his pain behind his stiff British reserve. ~ Don Kaye, Rovi

Little Dorrit was intended as the cinematic equivalent to the mammoth, eight-hour Royal Shakespeare Company's staging of Charles Dickens' Nicholas Nickelby. The film was released to theaters in two parts, each running approximately three hours. The first part, subtitled "Nobody's Fault," introduced us to the seamstress title character (Sarah Pickering), who chooses to live in debtor's prison with her father (Alec Guinness). Good Samaritan Arthur Clennam (Derek Jacobi) endeavors to help both father and daughter. The second part, also known as "Little Dorrit's Story," details Dorrit's escape from penury to lasting happiness. Eschewing the usual 19th century-style British music often heard in Dickensian adaptations, director Christine Edzard creatively -- and effectively -- opts for the strains of Giuseppe Verdi. Edzard's eye for period detail is also deserving of unbounded praise. Unfortunately, part two of Little Dorrit spends nearly half of its running time recapping part one, utilizing much of the same footage. For those familiar with "Nobody's Fault," "Little Dorrit's Story" is more a redundancy than a continuation. Still, taken together, parts one and two all fully deserving of the enthusiastic critical commentary that greeted them upon their original release -- not to mention the multiple Academy Award nominations bestowed upon the project and its participants. ~ Hal Erickson, Rovi

Filmed in 1979 and released publicly one year later, The Tempest is an abstract 16-millimeter feature film based loosely on the "magical" Shakespeare play. Director/writer Derek Jarman also throws in a few Shakespearean sonnets when the spirit moves him. Essentially, Jarman uses the material as the basis for a homosexual metaphor, most notably in the Prospero/Caliban relationship. He would further elaborate this concept in his next film, The Angelic Conversation. Jarman's The Tempest by its very nature speaks to a small, specialized audience. ~ Hal Erickson, Rovi

Enrico Malatesta (Eddie Constantine) leads a group of Latvian dissidents in the siege of Sidney Street. Chief of police Winston Churchill organizes against the anarchist who threaten to disturb the peace to make their demands known to the British aristocracy. Authorities break up the volatile gang and Malatesta is deported to Italy. Constantine gives a sympathetic portrayal of the agitator that organizes the revolt that shocked the Edwardian sensibilities of London in this historical drama. ~ Dan Pavlides, Rovi