Michael Thomas Movies

Dominic Cooper (An Education) headlines director Lee Tamahori's fact-based docudrama centering on the nightmarish experiences of an Iraqi army lieutenant whose life became a living hell after he was hand-selected to be a "fiday" (body double) for Iraqi dictator Saddam Hussein's ruthless son Uday. Baghdad, 1987: Iraqi soldier Latif Yahia (Cooper) becomes privy to the inner workings of the royal family after receiving an offer he can't refuse. Desperate to protect his family and terrified of making any fatal missteps, Latif studies Uday's every personal tick in order to become the spitting image of the so-called "Black Prince." While some Iraqis might have been honored to be presented with such a unique opportunity, Uday's unparalleled sadism and debauched lifestyle quickly began to eat away at the very core of Latif's soul. As war with Kuwait looms on the horizon, Latif finds himself increasingly drawn to Uday's ravishing mistress Sarrab (Ludivine Sagnier), a woman with her own terrifying tales to tell about time spent with Iraq's cruelest son. ~ Jason Buchanan, Rovi

Set during one afternoon at a Los Angeles, this edgy ensemble sex comedy was the feature debut of director Kurt Voelker. Starring William Baldwin, Ricki Lake, and Cheri Oteri, Park intertwines the lives of several unsuspecting people, including a suicidal woman, a philandering lawyer, his snooping wife, a pair of dog groomers, and a van of aspiring nudists. ~ Matthew Tobey, Rovi

Australian filmmaker Paul Goldman directs the comedy The Night We Called It a Day, based on the actual events during Frank Sinatra's 1974 tour stop in Sydney. Joel Edgerton plays Rod Blue, a long-haired rock promoter in Australia during the '70s. He hopes to save his floundering career by spending all his money booking Frank Sinatra (Dennis Hopper). But when Sinatra arrives with his girlfriend Barbara Marx (Melanie Griffith), he insults the locals by calling reporter Hilary Hunter (Portia de Rossi) "a two-dollar whore." Union leader and future Australian prime minister Bob Hawke (David Field) tries to cancel the tour unless he apologizes, and it's up to Rod and his assistant Audrey (Rose Byrne) to step in and save the tour. Tom Burlinson performs Sinatra's vocal parts. The Night We Called It a Day was shown at the 2003 Cannes Film Festival. ~ Andrea LeVasseur, Rovi

In part, filmmaker Stephan Elliott (best known for The Adventures of Priscilla Queen of the Desert) made this black, surrealistic and subversive comedy to bid farewell to Australian cultural traditions (i.e. excessive beer drinking, racism and sexism) that are rapidly disappearing due to the increasing infiltration of urban sophistication and political correctness into even the county's most remote regions. Unfortunately, Elliot's outrageous tribute to past 'traditions' is presented with such vulgar abandon that many Australians are sure to be offended, not tickled, even though Elliot did try to tone down the mean spirit of the original script which was first titled 'Big Red.' The story centers on Teddy, a fugitive con-artist who has fled New York and gone into the Australian outback. His troubles begin when he is picked up at a lonely gas station by the blonde and brassy Angie who quickly seduces him and then knocks him out cold. Teddy awakens to find himself in the dusty town of Woop Woop. Surrounded by steep cliffs, the town, which was built near a now-defunct asbestos mine, is ruled by Angie's father Daddy-O, who is as much a warden as he is a local leader, deciding when and who will enter and leave Woop Woop. A weird place that is supported by a kangaroo-meat dog-food factory, it is populated by beer-swilling rednecks, crude eccentrics (and a giant kangaroo named Big Red) who find endless entertainment listening to Oscar & Hammerstein musicals (the town's ramshackle drive-in runs The Sound of Music and South Pacific continuously). Teddy quickly discovers that he is in effect the burg's newest prisoner and is expected to constantly service the sexually insatiable Angie. Not willing to remain a captive, Teddy begins planning his escape. The story's surrealism comes from Elliot's deliberately inappropriate use of musical numbers to punctuate events. ~ Sandra Brennan, Rovi

The owner of an aircraft salvage company (Viggo Mortensen) is reported killed in a crash. However, his wife (Andie MacDowell) knows better, and she decides to find him and his secret bank accounts. She travels around the world, and winding up in Cairo, she meets Liam Neeson, who helps her uncover her husband's smuggling scheme. ~ Rovi

In 1963, the conservative British government was shaken to its foundations by the Profumo Scandal. The central character in this disastrous affair was John Profumo, Britain's minister of war, who had become sexually involved with call-girl Christine Keeler, whose "sponsor" was high-priced osteopath Dr. Stephen Ward. Fancying himself a dashing international adventurer, Ward had also offered Christine to alleged Soviet spy Eugene Ivanov. Another of Ward's stable, Mandy Rice-Davies, allegedly had slept with numerous British and American luminaries. The whole sordid story, which ended with Ward's suicide and Profumo's public disgrace, was recounted with relish in director Michael Caton-Jones's Scandal, which featured John Hurt as Stephen Ward, Joanne Whalley-Kilmer as Christine Keeler, Ian McKellan as Profumo, Bridget Fonda as Mandy Rice-Davies, and Jeroen Krabbe as Ivanov. In its original form, the film was ripe enough to court an X-rating; post-production trimming enabled it to squeak by with an R. ~ Hal Erickson, Rovi

In this standard suspense thriller, Paul Hatcher (Charles Dance) has a habit of spying on the neighbors across the way, something that gets him into deep trouble. Hatcher is a movie critic, and for awhile it looks like his main problem is keeping reality and the silver screen separate. But then a double murder occurs across the street after some mobsters cannot find an incriminating negative. After Hatcher discovers where the negative is hidden, he is bumped to the top on the assassins' hit list. ~ Eleanor Mannikka, Rovi

Based on a true story, this film tells the tale of Robert O'Hara Burke (Jack Thompson) and William John Wills (Nigel Havers), who in 1860 set forth to create the first accurate maps of the interior region of the Australian continent. To this end, Irish explorer Burke and British scientist Wills journeyed from the Southern coast of Carpenteria to the North. While they succeeded with the first part of their voyage, on the return trip they and their compatriots fell victim to intense heat and diminishing supplies of food; of the 19 men who began the expedition, only one survived to tell the tale. However, while fate was cruel to Burke and Wills, history was kind, and their story is still taught in every Australian classroom. Graeme Clifford's biopic was praised for its striking visuals and realistic portrayal of Burke and Wills' difficult journey. ~ Mark Deming, Rovi

The exquisitely beautiful Catherine Deneuve plays Miriam, a centuries-old vampire capable of bestowing the gift of immortality on her lovers -- namely her current partner John (David Bowie). To sustain their sanguinary requirements, the pair cruises New York nightclubs in search of victims (as illustrated in a stunning opening sequence to the accompaniment of "Bela Lugosi's Dead" performed by seminal Goth band Bauhaus). When John awakens one morning to discover telltale signs of aging, it is revealed that his own sustained youth is not permanent, and his physical decrepitude begins to increase at an incredible rate. In a panic, John visits the clinic of scientist Sarah Roberts (Susan Sarandon), who has recently published a book on reversing the aging process, but she initially dismisses him as a crank, leaving him to sit in the lobby for several hours... during which his body ages several decades. After learning of his condition, Sarah traces John to his uptown flat. John is nowhere to be found, having been consigned by Miriam to a box in the attic with her legions of undead loves, leaving Miriam to deal with Sarah -- which she does quite effectively, seducing her into a steamy lesbian tryst. Their passion is consummated by a mingling of Miriam's blood with Sarah's, which later manifests itself as a psychic link between the two women and leaves Sarah with a rapidly-increasing appetite for blood. ~ Cavett Binion, Rovi

Broken English is a sincerely felt but somewhat anachronistic film predicated on the theme of miscegenation. White leading lady Beverly Roberts comes under fire from her friends, family and associates when she marries African gentleman Jacques Martial. The title is a reference to the initial language barriers between husband and wife (the film is partly subtitled). Broken English has the distinction of being the only film to feature Oona O'Neill in an acting role. Perhaps you know her better by her married name: Mrs. Charlie Chaplin. ~ Hal Erickson, Rovi

This exploitation flesh feature finds J.C. (David Calder) engaging in various affairs with both men and women. He becomes man meat for a group of ravenously sex-starved homosexuals in a theater balcony, picks up a hippie chick from New Jersey, has sex with a transvestite, and falls into the clutches of a sadomasochist. Oral sex and sodomy are prominently displayed in this film targeted for the gay male audience. ~ Dan Pavlides, Rovi