Ken Hodges

Based on the Stephen King short story The Body, Rob Reiner's easygoing nostalgia piece is set in Castle Rock, OR, over Labor Day weekend, 1959. A quartet of boys, inseparable friends all, set out in search of a dead body that one of the boys overhears his brother talking about. The foursome consists of intellectual Gordie (Wil Wheaton), born leader Chris (River Phoenix), emotionally disturbed Teddy (Corey Feldman), and chubby hanger-on Vern (Jerry O'Connell). The boys' adventures en route to the elusive body are colored by the personal pressures brought to bear on all of them by the adult world. Richard Dreyfuss, playing the grown-up Gordie, narrates the film, while Kiefer Sutherland dominates every scene he's in as a brutish high-school bully. ~ Hal Erickson, All Movie Guide

In a Flemish village, pride and cupidity vie for control, and each of them loses. When the villagers hear that a highway might be built near their village, they perk up -- it could be just the thing for their faltering economy. The current mayor has scotched the easiest route, which would take the road through a bird sanctuary he fought to establish. Instead, a few modest houses will be torn down to make way for the road. This is not acceptable to his political opponent, who pulls out all the stops to oppose him on the road issue, in order to defeat him at the polls during the next election. ~ Clarke Fountain, All Movie Guide

This comedy was the final episode in the "Confessions of.." trio. This time the characters from the previous films are cast as dreadfully untalented entertainers working in a resort. Slapstick ensues. ~ Sandra Brennan, All Movie Guide

This made-for-television remake of a taut thriller from 1946 concerns a small-town psycho stalking disabled female victims, whom he shoots with a silencer pistol. His next intended prey is a poor young woman who cannot speak. ~ Sandra Brennan, All Movie Guide

An institutionalized schizophrenic with a Messiah complex inherits the position of an English Earl in this cutting satire of British society, based on a play by Peter Barnes. The film's irreverent tone is established with the disturbingly hilarious death of the thirteenth Earl of Gurney during a bizarre attempt at auto-erotic asphyxiation. To the dismay of the earl's family, the title passes to his son Jack (Peter O'Toole), who has been locked away for eight years after claiming to be the second coming of Jesus Christ. Mad but harmless, Jack is released to assume his seat. However, his embrace of Christianity proves incompatible with a position of power in "normal" society, where peace and love are considered serious weaknesses, and a somewhat unhinged psychiatrist is called to help him adjust. Meanwhile, Jack's scheming uncle, Sir Charles (William Mervyn), works on developing a complex scheme to trick Jack out of his position. Loaded with idiosyncratic touches from eccentric camera angles to unexpected outbursts of song, the film creates an experience nearly as inspired and mad as O'Toole's brilliantly hilarious central performance. The film's devilish invention may at times seem overloaded, but most drawbacks are redeemed by the sharpness of the satire, particularly during the memorably disturbing finale. ~ Judd Blaise, All Movie Guide

The plight of an English couple struggling to raise a disabled child is given a darkly humorous treatment in this English comedy. Based on the successful stage play by Peter Nichols, the film centers on the parents of Jo, nicknamed "Joe Egg," a mentally challenged invalid subject to violent seizures. The couple (played by Alan Bates and Janet Suzman) attempts to maintain a stoic and occasionally cheerful facade in the face of their daughter's condition, but they find themselves unable to cope with the strain. Faced with the imminent collapse of their marriage, they eventually agree that euthanasia may be the answer to their troubles. Some viewers may consider the subject matter inappropriate for comedy, but the film mines its uneasy laughter not from the child's plight but from the eccentricities of the parents' reactions. ~ Judd Blaise, All Movie Guide

This offbeat comedy finds Teddy (Marty Feldman) as a television advertising man given a seemingly meaningless project. Slated to make frozen porridge commercials, he comes up with the idea to find an erotic Goldilocks to sell the product. Soon a nationwide search is launched for the female spokesperson. He has trouble at home because his wife is the leader of the "Keep Television Clean" movement. Teddy dreams up a wild bunch of commercials and his daydreams harken back to silent era comedies. This was the first full length film for Feldman, the bug eyed comic who parlayed his television success in Britain into a comedy film career in Hollywood. ~ Dan Pavlides, All Movie Guide

This lackluster 1970 version of Charles Dickens' classic novel, David Copperfield (made as a film twice before) turns Dickens' picaresque tale into an extended flashback, with David Copperfield (Robin Phillips) as a young man, brooding on a deserted beach, recalling his youth. The characters are all trotted out in choppy flashbacks as David remembers his life as a young orphan, brought to London and passed around from relatives, to guardians, to boarding school. ~ Paul Brenner, All Movie Guide

Based on a play by John Osborne, this is one of those movies where the audience pulls for the protagonist but has a hard time actually saying that he IS a protagonist. A highly unlikeable fellow, this protagonist is an attorney in all the ways that make this more an epithet than a profession. He's hated by his office personnel as much as his associates. He's unfaithful to his wife, lousy to his clients, and miserable with his children. Surprisingly, though, Nicol Williamson has taken this nasty person and made us still somewhat care what happens to him. Quite an accomplishment considering the lack of anything at all to love about this misanthrope, but somehow we see just a glimmer of humanity. ~ Tana Hobart, All Movie Guide

Two brothers looking to avoid becoming pawns of the establishment come up with a better way of making a living -- through theft -- in this satiric comedy. David Tremayne (Oliver Reed) is a successful London architect, and his younger brother Michael (Michael Crawford) is weighing his options after being kicked out of school. The brothers share a bemused disgust with the world around them and a desire to get through life without the burden of labor; toward this end, one day they begin plotting an elaborate scheme to steal the British Crown Jewels. Mind you, they don't intend to sell them, or even keep them very long -- the idea is to return them after a week, simply to prove that it could indeed be done, and make themselves famous in the process. After studying the procedures of Scotland Yard's Bomb Disposal Unit, the inner working of the Tower of London's Jewel Room, and the London ambulance services, the Tremaynes come up with a foolproof plan -- they call in a bomb threat to the Tower, and they are able to enter the Jewel Room posing as men from the bomb squad. They then feign injury and are able to escape in an ambulance. It all seems simple enough, and it actually works, until Michael "forgets" his part of the agreement to take half of the responsibility for the theft. The supporting cast includes Edward Fox, Frank Finlay, and Harry Andrews. ~ Mark Deming, All Movie Guide

Cartoonist Ronald Searle's delightfully diabolical private-school girls are back in action in The Great St. Trinian's Bank Robbery. Comedian Frankie Howerd plays the head of a train-robbery gang who cleverly hides the loot from their biggest haul (presumably the infamous "Great Train Robbery" of 1963) in a deserted old mansion. The gang waits the traditional seven years for the statute of limitations to run out then returns to the mansion to dig up their $7 million booty. Unfortunately, the joint has been converted into the new site for St. Trinian's School for Girls. Even more unfortunately (for the crooks, but not the audience) those "girls" are all holy terrors. The film's climax occurs during a riotous Parents' Day ceremony, which predictably segues into a wild train chase. Great St. Trinian's Train Robbery might have been funnier had Alastair Sim, the star of the first three "St. Trinian's" entries, made a return appearance. ~ Hal Erickson, All Movie Guide

Conrad Phillips stars as a British secret agent not named James Bond in Dead Man's Evidence. The story is set in motion by the discovery of a dead frogman, washed up on the coast of Ireland. The body is identified as that of a double agent who has sold out to the Russians. In fact, the dead man is innocent. The real culprit is still alive-and murderously protective of his identity. ~ Hal Erickson, All Movie Guide

Although there may be a few minor gaps here and there in the storyline, Faces in the Dark is a suspenseful drama by director David Eady. Richard Hammond (John Gregson) owns a factory, and on the very day his wife Christine (Mai Zetterling ) is coming to his office to tell him she wants a divorce, he is accidentally blinded during an experiment. His wife relents in her decision, but Richard is still as abrasive as ever, and now the bumpy spots in his personality are made worse by self-pity and a suspicion that he is losing his sanity. Meanwhile, Richard begins to suspect that the cool and aloof Christine and Richard's partner conspire against him, but as a blind man he has fewer resources to pinpoint why he is suspicious. ~ Eleanor Mannikka, All Movie Guide