Michael Craig Movies

In this mystery, Peter Ustinov reprises the role of Hercule Poirot, the fussy and flower-tending detective from Belgium created by Agatha Christie. In 1937, Mrs. Emily Boynton (Piper Laurie) is on an archeological dig in Palestine; she inherited the wealth of her recently deceased husband and feels little inclination to share it with her relatives. When she turns up murdered, there are plenty of logical suspects among the people who hated Emily, so which one did the deed? It's up to Poirot to find out. The supporting cast includes Lauren Bacall, John Gielgud, and Carrie Fisher; the film was Ustinov's sixth go-round as Poirot. ~ Mark Deming, All Movie Guide

In the 12th episode of the season-long continuity "The Trial of a Time Lord," the Valeyard (Michael Jayston), bent upon condemning the Doctor (Colin Baker) for violating the Laws of Time, argues that the Doctor's videotaped evidence does not correspond with the facts. But the Doctor argues that, contrary to those "facts," he and his companion, Mel (Bonnie Langford), were indeed responsible for rescuing the passengers of the spaceliner Hyperion III from being devoured by a series of ravenous plants -- and that the Hyperion III did not meet its doom in the Black Hole of Tartarus. Written by Pip and Jane Baker and first broadcast on November 22, 1986, Doctor Who: The Trial of a Time Lord, Episode 12 was actually the concluding installment of the four-part story arc "Terror of the Vervoids." ~ Hal Erickson, All Movie Guide

The season-long Doctor Who adventure "The Trial of a Time Lord" continued on November 1, 1986 with episode one of the story's third chapter, "Terror of the Vervoids" (a subtitle that did not appear onscreen). Still defending himself against charges of breaking the Laws of Time, the Doctor (Colin Baker) presents videotaped evidence of his innocence. It should not surprise fans of the series that the evidence consists of events that have yet to transpire, and that the Doctor has suddenly acquired a new companion: Earth girl Melanie "Mel" Bush (Bonnie Langford). Doctor Who: The Trial of a Time Lord, Episode 9 was written by Pip and Jane Baker. ~ Hal Erickson, All Movie Guide

This film about Stanley (Peter Bensley), a young man clashing with the real world around him, loses its potential for energetic farce and social comedy as many of the scenes are not convincingly delivered - or miss altogether. Stanley's father is a billionaire who is driven to distraction by his eccentric son and as a remedy for the young man's erratic behavior, he proposes brain surgery. Stanley is not eccentric enough to agree with that idea, and runs away to safety in the home of a normal family, or so he thinks. The "normal" father is actually gay but is still deeply ensconced in the closet as far as his family is concerned, the mother is having a hetero affair, the son is a drug dealer, and the daughter is expecting a racially-mixed child. As long as he stays with this family, Stanley's road to normalcy will be a bumpy if not aborted ride. ~ Eleanor Mannikka, All Movie Guide

In Queensland, Australia in the 1920s, a rugged Irishman bucks the encroaching modern age to the detriment of himself and his family in The Irishman. Michael Craig plays Paddy Doolan, an individualistic force-of-nature who runs a team of imposing and impressive Clydesdale draught horses. With the internal combustion engine making inroads into the Australian outback, Doolan insists on ignoring the on-coming mechanical monstrosity and continues to put all his faith into his horse team. His recalcitrance tears apart his family -- consisting of his acquiescent wife Jenny (Robyn Nevin); his rebellious older son Will (Lou Brown); and supportive younger son Michael (Simon Burke). Refusing to give in to changing times, he not only ends up destroying his business and his family but himself as well. ~ Paul Brenner, All Movie Guide

The principal characters in this Australian miniseries were James Casey (John Meillon) and his terminally ill son, Sean (Mark Shields-Brown). Throughout the series' three 75-minute episodes, James met with formidable obstacles as he endeavored to grant Sean his three last wishes: to get a dog, to be reunited with his mother, and to meet the Queen of England. The story concluded with the proposal, and granting, of a mysterious fourth wish. Based on a true story, The Fourth Wish aired over the Australian ABC network in 1976; two years later, a feature-film version appeared, again starring John Meillon. ~ Hal Erickson, All Movie Guide

Two children ride the same pony in this Disney film, but neither one is happy about sharing the animal they both love. James Ellison is rich and wears leg braces; on the pony, she is not crippled. Scotty Pirie is a poor farm boy, and he loves to ride the pony as well. The two dispute the ownership of the pony, and the townspeople create many complications through their support of one or the other. Eventually, the two become friends, and while the ownership issue is resolved, it is not so important anymore because they have learned to share the pony between them. ~ Clarke Fountain, All Movie Guide

This Aussie/Western variation on the Psycho formula is set in the tiny Outback town of Gippsland in the 1890s, where travelers visiting a remote inn are being bumped off by a mysterious interloper. After a perfectly dreary hour or so, wily lawman Alex Cord solves the mystery that somehow managed to befuddle the rest of the cast -- it seems crackpot innkeeper Dame Judith Anderson and her husband have never quite recovered from the trauma of seeing their children killed by escaped convicts who once invaded their home, and they have been busily hacking up their guests ever since. The setting provides for some pleasant location photography and gives the film a unique look and feel, but the story is completely bogged down by dull pacing and lackluster performances -- except for Anderson, who is always a treat to watch, even when she's given little to work with. ~ Cavett Binion, All Movie Guide

Touted by 20th Century-Fox as a follow-up to their enormously successful The Sound of Music, Star! reteams that earlier film's leading lady Julie Andrews and director Robert Wise. Andrews plays legendary musical comedy star Gertrude Lawrence, while Daniel Massey appears as Lawrence's friend, co-worker and severest critic Noel Coward (Massey's real-life godfather). The film jumps back and forth in continuity at times, its transitions bridged by fabricated newsreel footage; essentially, however, William Fairchild's script traces Lawrence's progress from ambitious bit actress to the toast of London and Broadway. Her success is offset by a stormy private life, which is given some ballast when she falls in love with an American financier (Richard Crenna). The film is way too long for its own good, though the musical set pieces -- especially the Andrews-Massey duets -- are superb. Julie Andrews welcomed the chance of playing a character as far removed from her goody-two-shoes heroine in Sound of Music as possible; Gertrude Lawrence was temperamental, sarcastic, profane and at times self-destructive, and Andrews makes a meal of the role. Unfortunately, Andrews' fans, conditioned by the Fox publicity machine to expect a continuation of Sound of Music, rejected her outright in this "new" characterization. Star! was a huge box-office bomb, so much so that Fox desperately attempted a shortened re-release under a misleading new title, Those Were The Happy Times. They weren't: it remained a financial disaster, though it has developed a loyal cult following in recent years. ~ Hal Erickson, All Movie Guide

A popular British comic strip series served as inspiration for this light-hearted espionage adventure, which if nothing else certainly shows the marks of its origins in the mid-1960s. A large departure for director Joseph Losey, better known for brooding interpretations of Harold Pinter works (The Servant, Accident), the film is emphatically bright and colorful, taking on at times a nearly psychedelic feel. The strangeness is emphasized by the unusual casting, including Italian star Monica Vitti in her first English-speaking role as the title character and Dirk Bogarde, playing against type as her arch-nemesis. Essentially everything is played for its camp value, including the rather convoluted, James Bond-like plot, which concerns the hijacking of a shipment of diamonds heading for the Middle East. Like its mod-era sets and costumes, this unusual, inconsistent effort is certainly intriguing and attractive, but might seem rather dated to some. ~ Judd Blaise, All Movie Guide

Life at the Top is a belated sequel to Room at the Top, John Blaine's "angry young man" British novel that was made into a film in 1959. Laurence Harvey is back as Joe Lampton, the man-on-the-rise protagonist who in Room had given up true love in favor of a career-boosting (and antiseptic) marriage to his boss' daughter. Ten years have passed: Lampton is a business success, but utterly bored by his dead-end marital setup. His wife feels the same, and it isn't long before Mr. and Mrs. Lampton begin conducting separate affairs. While the original Room was a fairly accurate evocation of its era, Life at the Top works too hard and too noisily to be "mod," in reflection of the ethereal Swinging London era. The inclusion of flashbacks from Room at the Top, in which Harvey is seen making love to Simone Signoret, only serves to emphasize the shortcomings of the sequel. The best moments in the later version can be found in the early establishing scenes set in Yorkshire. Life at the Top was followed by a TV series called Man at the Top, starring Kenneth Haigh as Lampton, which in turn was followed by a theatrical feature of the same name. ~ Hal Erickson, All Movie Guide

In this drama, two young attorneys working for their uncle, find themselves facing off in court. One of the is defending a wife; the other, her husband who is suing for conjugal rights. As both lawyers are fresh from law school, things in court are often chaotic, and they suffer several fiascoes to the point where the judge is ready to disbar them. At the end of the tumultuous case, it looks as if the wife will win, when the other lawyer learns that the wife was afraid her husband would blackmail her if he found out that she was already married to a millionaire. Finally all is resolved and justice served. The two lawyers then decide to get married. ~ Sandra Brennan, All Movie Guide

Not a medieval epic, The Iron Maiden is a contemporary comedy. Nor is the title object a torture device; instead, it's new sort of steam roller. The hero (Michael Craig) is an aircraft designer who neglects his work because of his fondness for machine engines. The film's climax is a steamroller race across the British countryside, which is all right as steamroller races go. The American distributors of Iron Maiden sent this one out under the alluring and wholly misleading cognomen The Swinging Maiden. ~ Hal Erickson, All Movie Guide