Tip Tipping Movies

Michael Winner directs a curious amalgam of his own Death Wish and Abel Ferrara's Ms. 45, in this intense, post-feminist serial-killer movie, based on the bestseller by Helen Zahavi. After an explosive love affair crashes and burns, Bella (Lia Williams) leaves London for Brighton, where she begins to receive a series of obscene telephone calls from her deranged neighbor. Soon her neighbor also begins to stalk her. When the local police refuse to help her, Bella determines to take the matter into her own hands. Finally, at the urging of a loony Asian clairvoyant (Ian Richardson), Bella sneaks into the stalker's apartment in the dead of night and beats him to death with a claw-hammer. And to Bella's surprise, she finds that she likes it. ~ Paul Brenner, Rovi

Patsy Kensit stars in Don Boyd's distaff version of Alfie, with Kensit playing 21-year-old Katie, an attractive and self-absorbed Londoner who has just reached this milestone of an age and is trying to make some sense out of it. Until now, Katie has enjoyed life and all its pleasures without thinking too much about it. But, as she speaks to the camera, she reflects upon the men in her life and wonders if she has made all the right romantic decisions. There is Bobby (Rufus Sewell), her charming Scottish boyfriend, who has a propensity for slipping off to the bathroom for a heroin fix. And then there is Jack (Patrick Ryecart), another lover, whose sad-eyed demeanor belies his lack of sexual excitement. So what should Katie do about her beaux, particularly when she is preparing to move to New York? ~ Paul Brenner, Rovi

Innocent Victim is a psychological thriller based on the Ruth Rendell novel Tree of Hands. London based, best-selling author, Benet (Helen Shaver), who has just written a controversial novel, lives alone with her young son. Benet's mother, Marsha (Lauren Becall), visiting from the United States, is a manic-depressive who has psychotic episodes. When Benet's young son dies, Marsha kidnaps a local child to serve as a substitute. Benet believes she should return the child but upon investigation she finds out that the child has been severely abused by his parents. After the child's disappearance, the parents are charged with the murder. A more skillful filmmaker might have dealt, as the novel does, with the moral issues of guilt and responsibility and the terrible moral dilemma faced by Benet. Instead, director Giles Foster presents the film in a rather straightforward, nonjudgmental fashion which allows for little character growth and diminishes the impact of what should be an ironic and disturbing ending. Innocent Victim, while at times compelling, and based on an interesting premise, would have been a memorable film if Foster had taken more chances and pushed his actors to give the performances that they are capable of but here are only hinted at. ~ Linda Rasmussen, Rovi

Behind the black cowl, Gotham City superhero Batman is really millionaire philanthropist Bruce Wayne (Michael Keaton), who turned to crimefighting after his parents were brutally murdered before his eyes. The only person to share Wayne's secret is faithful butler Alfred (Michael Gough). The principal villain in Batman is The Joker (Jack Nicholson) who'd been mob torpedo Jack Napier before he was horribly disfigured in a vat of acid. The Joker's plan to destroy Batman and gain control of Gotham City is manifold. First he distributes a line of booby-trapped cosmetics, then he goes on a destruction spree in the Gotham Art Museum while the music of Prince blasts away in the background, and finally he orchestrates an all-out campaign to win the hearts and minds of the Gothamites, hoping to turn them against the Cowled One. Meanwhile, reporter Vicki Vale (Kim Basinger) becomes the love of Batman's life-which of course plays right into the Joker's hands. Photographed by Roger Pratt, designed by Anton Furst, and scored by Tim Burton's favorite composer Danny Elfman, Batman was a monstrous box-office hit, making $100 million in the first ten days of release--$82,800,000 in North America alone. Incidentally, Billy Dee Williams' comparatively small role as DA Harvey Dent was originally designed to set up the sequel, wherein Dent was to convert into master criminal Two-Face; but by the time the producers got around to that character in 1995's Batman Forever, Two-Face was played by Tommy Lee Jones. ~ Hal Erickson, Rovi

Honeybunch (Nada Van Nie) is a 15-year-old sent by her wealthy parents to be educated in a convent in this situation comedy. After reading a racy romantic novel, she dons a miniskirt and makeup on her 16th birthday and runs off from the convent. The convent and police believe Honeybunch has been kidnapped, but the girl is out for a night of fun that turns into a series of madcap comedy adventures. Bureaucracy and religion are subjected to satirical ridicule. Harry (Marc Hazenwinkel) is the poor but honest fellow student who helps Honeybunch in her time of trouble on her unforgettable 16th birthday. ~ Dan Pavlides, Rovi

Big-budget special effects, swiftly paced action, and a distinct feminist subtext from writer/director James Cameron turned what should have been a by-the-numbers sci-fi sequel into both a blockbuster and a seven-time Oscar nominee. Sigourney Weaver returns as Ellen Ripley, the last surviving crew member of a corporate spaceship destroyed after an attack by a vicious, virtually unbeatable alien life form. Adrift in space for half a century, Ripley grapples with depression until she's informed by her company's representative, Carter Burke (Paul Reiser) that the planet where her crew discovered the alien has since been settled by colonists. Contact with the colony has suddenly been lost, and a detachment of colonial marines is being sent to investigate. Invited along as an advisor, Ripley predicts disaster, and sure enough, the aliens have infested the colony, leaving a sole survivor, the young girl Newt (Carrie Henn). With the soldiers picked off one by one, a final all-female showdown brews between the alien queen and Ripley, who's become a surrogate mother to Newt. Several future stars made early career appearances in Aliens (1986), including Lance Henriksen, Bill Paxton, and Reiser. ~ Karl Williams, Rovi

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, Rovi

Director Tobe Hooper adapts Colin Wilson's edgy novel The Space Vampires in this in this horror/sci-fi epic with a cult following. The story concerns a joint British-American space probe of Hailey's Comet. Inside the comet, the astronauts, headed by Carlsen (Steve Railsback), find a spaceship that contains the dead bodies of several aliens, along with the naked bodies of three human-like creatures in suspended animation. They bring the aliens aboard the ship for examination, but the specimens are sloppily guarded and soon the trio spread contagion among the population of the ship. Returning to earth, the beautiful space vampire (Mathilda May) escapes into London and begins to feed of the bodies of the unwary Britons, turning the city into a zombie-populated wasteland. It is now left for Carlsen to stop the vampire invaders. ~ Paul Brenner, Rovi

The second of the George Lucas/Steven Spielberg Indiana Jones epics is set a year or so before the events in Raiders of the Lost Ark (1984). After a brief brouhaha involving a precious vial and a wild ride down a raging Himalyan river, Indy (Harrison Ford) gets down to the problem at hand: retrieving a precious gem and several kidnapped young boys on behalf of a remote East Indian village. His companions this time around include a dimbulbed, easily frightened nightclub chanteuse (Kate Capshaw), and a feisty 12-year-old kid named Short Round (Quan Ke Huy). Throughout, the plot takes second place to the thrills, which include a harrowing rollercoaster ride in an abandoned mineshaft and Indy's rescue of the heroine from a ritual sacrifice. There are also a couple of cute references to Raiders of the Lost Ark, notably a funny variation of Indy's shooting of the Sherpa warrior. ~ Hal Erickson, Rovi

The official Greek entry at the 1967 Chicago Film Festival, this psychosexual drama was directed by Yiorgos Skalenakis (O Tsitsiolinos). The story concerns a merchant ship captain named Vassilis (Spyros Fokas) who returns from one of his lengthy voyages and takes his beautiful wife, Elena (Elena Nathanael), on vacation to a seemingly peaceful seaside village. While they are staying at a local resort, Elena finds herself irresistibly drawn to a stranger (Theodoros Roubanis) and tells Vassilis that she is in love with the man. The captain angrily leaves his wife and returns to Athens, and Elena begins a tumultuous affair with the handsome stranger, which threatens to destroy her marriage as well as her composure. Skalenakis went on to adapt the popular Ah! Afti i Guineka Mou for the screen the following year. ~ Robert Firsching, Rovi