John Barrard Movies

The central character in this British sitcom was middle-aged Les Brooks (Sam Kelly), who after several years at the same job was suddenly rendered "redundant" (that is, he was given the boot). In order to keep food on the family table, Les hatched a number of get-rich-quick schemes, all of which quickly fizzled. Meanwhile, his more level-headed wife Maureen (Marcia Warren) landed a job at a local pub. The six-episode We'll Think of Something was telecast from September 1 to October 13, 1986. ~ Hal Erickson, All Movie Guide

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. Once David is on the throne, Bathsheba and then Absalom enter into the picture. Interspersed are brutal scenes of fighting, but not much in the way of motivation for David's complex behavior. Gaps in the narration or unclear motivation may be the result of trying to cover too many events in a 114-minute running time. ~ Eleanor Mannikka, All Movie Guide

The inaugural season of the British satirical comedy series The Black Adder ended on July 20, 1983, with the episode titled "The Black Seal." Having exhausted all efforts to usurp the throne of England, Edmund (Rowan Atkinson) resorts to drastic measures -- which, characteristically, are really drastic. Planning to seize the throne by force, Edmund enlists the aid of the Seven Most Evil Men in the land -- among them such worthies as Three-Fingered Pete (Roger Slomon), Sir Wilfred Death (John Hallam), and Mad Gerald (played by "himself," though he bears a marked resemblance to character comedian Rik Mayall). After "The Black Seal," The Black Adder would go on a lengthy hiatus, not to be seen again until 1986. ~ Hal Erickson, All Movie Guide

The phenomenon of Tales from the Crypt seems to have no endings, only changes. This successful pun-filled style of presenting ironic horror tales had its beginnings in William Gaine's E.C. comic series. At one time, outlandish E.C. Comics were at the heart of a national furor over the "evils" of comic books, which were thought to lead to moral degeneracy. The big comic-book publishers were frightened into freezing E.C. out of their distribution network, which killed the business. This British movie was based on the Tales from the Crypt series, which spawned several subsequent movies (and many imitators), at least one television series, and a whole new wave of comic books. Released in 1972, this movie has five episodes based on Gaines' stories, each introduced by Sir Ralph Richardson as the eerily cheery Crypt Keeper. His comedic approach to the role was misunderstood at the time, as reviewers expected a more solemn approach to horror. In "All Through the House," Santa Claus is someone to avoid. In "Reflection of Death" it takes some people a while to realize the truth about themselves. In "Poetic Justice" death cannot prevent one man's revenge. The episode "Blind Alley" demonstrates a new use for razor blades. "Wish You Were Here" cautions against taking native artifacts lightly (among other things). Among the stars featured are Peter Cushing, Joan Collins and Patrick Magee. ~ Clarke Fountain, All Movie Guide

In the third episode of the six-part story "The Reign of Terror," the Doctor (William Hartnell) arrives in the Paris of 1794, intending to save Barbara (Jacqueline Hill) and Susan (Carole Ann Ford). Meanwhile, Ian (William Russell) has managed to link up with a moderate underground revolutionary group, headed by a mercurial, and not altogether trustworthy, spy. As the Doctor prepares to impersonate the Superintendent of Parisian Prisons, Barbara and Susan are unexpectedly snatched from the jaws of doom by underground leader Jules Renan (Donald Morley). Written by Dennis Spooner, "A Change of Identity" first aired on August 22, 1964, and is one of four episodes of "The Reign of Terror" still known to exist. ~ Hal Erickson, All Movie Guide

This was the last film for British director Wendy Toye whose special interests were always comedies and fantasies. In this light farce, the talented Kenneth More is Lt. Commander Bodger, a man with a penchant for honesty in moments when silence is much more diplomatic. Bodger offends the Navy higher-ups, and so he is first sent to work in Dartmouth, training cadets. That does not really keep him out of trouble and so the Navy, in desperation, sends him to work as a liaison officer with the American Sixth Fleet in the Mediterranean. Unfortunately, Bodger goes with three aides that are just like him, and they create havoc -- made much worse when a revolution begins in one of the nearby countries. The British foursome get inadvertently mixed up in the events, never really knowing exactly what they are doing until the dust settles. ~ Eleanor Mannikka, All Movie Guide

Michael Powell's controversial meditation on violence and voyeurism effectively destroyed his career when it was first released, but later generations have come to regard it as a masterpiece. Karl Heinz Boehm stars as Mark, the son of a psychologist who kept a video journal of the boy's upbringing for research purposes. The constant intrusions profoundly affected the boy, who grew up to be a photographer himself; but his principal subject matter consists of women whom he murders before the camera. He then runs the films of his victims in their final throes so that he can study their reactions to death--a perverse extension of his father's experiments, which tormented Mark to analyze his reactions to raw fear. The British press had long been hostile to the unorthodox films of Powell and his partner Emeric Pressburger; when Peeping Tom came around, they used the film to castigate him as "sick" and tawdry. The passage of time has proven Peeping Tom as profound and accomplished as any of Powell's earlier films, and it ranks with Alfred Hitchcock's Rear Window (1954) and Vertigo (1958) as a landmark exploration of the links among voyeurism, violence, and male sexual desire. Powell himself plays the evil father in the flashback sequences, and his son Colomba plays Mark as a child. ~ Hal Erickson, All Movie Guide