Bernard Cribbins Movies

It's the weight of tradition versus youthful vigor when loudmouth Torquay lawn bowling superstar Cliff Starkey (Paul Kaye) catches wind of an upcoming championship match between England and heated rivals Australia. He's determined to make the national team in a bid to bring his sport-of-choice into the new millennium. Quickly acquiring a flashy American agent (Vince Vaughn) and becoming the most popular player in England, Cliff vows to dethrone traditionalist champion Ray Speight (James Cromwell), who has made no secret his hatred of Cliff's brash showmanship. When Cliff starts seeing Ray's daughter, the competition really begins to heat up. ~ Jason Buchanan, Rovi

In this last gasp of the "Carry On" series, minus most of the "Carry On" players, Jim Dale plays Spanish map-maker Christopher Columbus, who has a plan to navigate a new route to India, bypassing the Sultan of Turkey (Rik Mayall) and his sky-high tributes. He convinces King Ferdinand of Spain (Leslie Phillips) and Queen Isabella (June Whitfield) to finance his trip, and he sets off for points east with a cabin boy in tow. But what Columbus doesn't realize is that his cabin boy is, in fact, a cabin girl. ~ Paul Brenner, Rovi

In this comic-detective movie, Dangerous Davies, a bungling gumshoe uses archaic methods to solve his cases. This time he must solve a 15-year-old murder involving an adolescent girl. He finds himself on a convoluted trail surrounded by the lowest of the lowlife. It is not until the picture is almost over that he realizes that the solution to the mystery has been under his nose all along. ~ Sandra Brennan, Rovi

Rarely does a film do homage to a serious artist through the medium of a madcap farce, as this one does; however, Picasso was known for an irreverent and ribald sense of humor which is quite in line with this Swedish film, Picassos Aeventyr. In a skit recounting his birth, a woman's heavy breathing is demonstrated to have nothing to do with childbirth. Another skit features an appearance by Alice B. Toklas and Gertrude Stein, played by two very masculine men in dowdy drag. In one particularly irreverent scene, Dr. Albert Schweitzer operates on Picasso. Picasso (Goesta Ekman) himself escapes the excessive commercialization of his works through a kind of suicidal self-transcendance. Told in a stripped-down mixture of French, Spanish and English, most will have no difficulty understanding the film's humor. Picassos Aeventyr is done in a style which has been compared that of Mel Brooks; as with Brooks' works, and some might not appreciate its broad humor. ~ Clarke Fountain, Rovi

Alfred Hitchcock entered the 1970s with his commercial reputation virtually in tatters, a far cry from his stature at the start of the 1960s. Then, he'd been in the middle of the massively successful trio of movies, North by Northwest, Psycho, and The Birds, and was a ubiquitous presence on television thanks to his anthology series Alfred Hitchcock Presents -- but the series ended, and he'd suffered three expensive box-office failures in a row, Marnie, Torn Curtain, and Topaz, in the second half of the 1960s. He redeemed himself with Frenzy, however, which marked his return not only to England for the first time in 20 years but also to the subject matter with which he'd started his career in thrillers back in 1926 -- murder, and a hunt for a serial killer in London. As the latest female victim of the "Necktie Murderer" is found in the Thames, raped and strangled, we meet Richard Blaney (Jon Finch), a bitter, belligerent ex-Royal Air Force officer who can't seem to find his way in life. He drinks too much and holds grudges too easily, and has an explosive temper, which is very near the surface as he's just lost his job. We also meet his girlfriend, a barmaid (Anna Massey); his ex-wife, a professional matchmaker (Barbara Leigh-Hunt); and his best friend, Covent Garden fruit seller Bob Rusk (Barry Foster). Their connection to the necktie murders will be clear to us in the first 30 minutes of the movie and, not coincidentally, completely misinterpreted by the police, as Chief Inspector Oxford (Alec McCowan) and his men tighten a circle around the wrong man, who rapidly runs out of options and allies.

The chase and suspense are classic Hitchcock, favorably recalling a dozen of his earlier movies, from The Lodger and The 39 Steps through Saboteur and Spellbound to Dial M for Murder and North by Northwest, with some new twists and the added energy afforded by the extensive use of actual London locations. There's also a good deal more sex and nudity here than Hitchcock was ever allowed to use in his earlier movies, owing to the relaxation of "decency" standards that had taken place in the years leading up to this production. The suspense derives from multiple interlocking and overlapping layers of uncertainty -- when will each of the two men, suspect and murderer, slip? (And which will slip first?) When and how will the police realize their mistake, and will it be in time to save the innocent man? Amid the straightforward storytelling and thriller elements, Hitchcock manages to slip in a few bravura cinematic moments, the best of them a pullback shot down a flight of stairs into a busy street as the killer invites his next victim into his home, as well as a scene aboard a truck, with a murderer desperately wrestling with a corpse hidden in a sack of potatoes. Frenzy was adapted from Arthur La Bern's novel Goodbye Picadilly, Farewell Leicester Square by mystery aficionado Anthony Shaffer, but for all of that and its decidedly modern trappings of sex and violence, it bears the indelible stylistic stamp of Alfred Hitchcock. ~ Bruce Eder, Rovi

Ghost of a Chance is a whimsical "preservationist" comedy filmed in England. Three young children oppose the destruction of an historical landmark, but their pleas fall on deaf ears. Coming to the rescue is a coterie of friendly ghosts, who stave off the wrecking ball long enough for the authorities to reconsider. Veteran British character actor Graham Stark plays head ghost "Dogood". Ghost of a Chance premiered in the US over the weekly CBS Children's Film Festival in 1972. ~ Hal Erickson, Rovi

Retired after years of international espionage, Agent 007 is lured back into action to battle the evil spy organization SMERSH in this notoriously incoherent parody of the James Bond films. David Niven portrays the aging Bond, who atypically rejects the advances of a variety of women, and agrees to battle SMERSH's hold on the lavish Casino Royale only after organization head M is murdered. Also mixed up in the affair are several other secret agents, all named James Bond, played by everyone from Peter Sellers and Woody Allen to a chimpanzee. Despite a star-studded cast, a large production budget, and a hit score by Burt Bacharach, the film was universally panned as a muddled, overlong failure, with the occasional amusing sequence lost in the unintelligible surroundings. The participation of several screenwriters and five different directors, including John Huston, only adds to the confusion. ~ Judd Blaise, Rovi

This entertaining sequel to 1965's Dr. Who and the Daleks has been released under several titles: Invasion Earth 2150 AD, Daleks Invade Earth: 2150 AD, and Daleks-Invasion Earth 2150 AD. So guess when the story takes place? Peter Cushing returns as eccentric time-traveller Dr. Who, idol of millions of BBC viewers and PBS pledge drive fans. This time, Dr. Who, his niece Susan (Roberta Tovey) and a flustered London bobby (Bernard Cribbins) are whisked into the future via the Doc's TARDIS call box. In 2150, London is under siege from the extraterrestrial Daleks, with whom Dr. Who has crossed swords in the past. The Daleks intend to convert the earth into a huge spaceship by activating the planet's metallic core. Props essential to the action include flying saucers, death rays and robots, all of which look a lot more expensive than those silver-painted tinker toys seen on the Dr. Who TV series. Coproducer Milton Subotsky based his screenplay upon a Dr. Who television continuity written by Terry Nation. ~ Hal Erickson, Rovi

In this French comedy, one little white lie leads to a series of whoppers as a Frenchman visiting London soon discovers. The French fellow has gone to London with his friends to catch a soccer match. He then must go to the dentist where, just for fun, he puts on a British policeman's uniform. Dressed as a bobby, he scares away some robbers. Unfortunately, he cannot tell them the truth because he is embarrassed to open his mouth and reveal the two teeth he lost at the soccer match. A chase ensues. ~ Sandra Brennan, Rovi

Steed and Tara investigate when the directors of Project Cupid, a top-secret construction project, are being systematically murdered. The culprit turns out to be a has-been vaudeville comedian, who resents the fact that Project Cupid plans to demolish a number of old music halls. Captured by the comedian and his minions, a bound-and-gagged Tara is subjected to the most hideous torture of all -- having to listen to their wheezy old jokes. John Cleese of Monty Python fame appears in an uproarious guest star role. Written by Dennis Spooner, this capriciously titled Avengers episode debuted in America on May 8, 1968, and was seen in England the following December 4th. ~ Hal Erickson, Rovi

You Must be Joking? draws its laughs from an Army endurance test. Over a 48-hour period, five officers in the British army-including American transplant Michael Callan-must wend their way through a maze, retrieve a hood ornament from a Rolls Royce and steal a lock of hair from beauteous pop singer Gabriella Licudi. There's a big prize in store for the officer who finishes the test first, and since the other contestant include such middle-aged huffers and puffers as Lionel Jeffries and Denholm Elliot, it doesn't take a Rhodes scholar to figure out who the victor will be. Director Michael Winner was still in his "mad mod" period when he lensed the wacky goings-on of You Must Be Joking? His Death Wish pictures of the 1970s were in 1965 as remote as another galaxy. ~ Hal Erickson, Rovi

Britain's long-running (some would say interminable) series of "Carry On" comedies managed to satirize virtually every film genre ever conceived over three decades. Since espionage dramas were hot in 1964, it was inevitable that the unwary world would be treated to Carry On Spying. The "maguffin" in this yarn is the top-secret Formula X, which has been pilfered by that insidious organization S.T.E.N.C.H. (Society for Total Extinction of Non-Existent Humans). Enter the heroes, the men and women of British Operational Security--better known as B.O.S.H. The good guys are understaffed, thus novice agent Kenneth Williams is put in charge of smashing the evil machinations of Dr. Crow (Judith Furse) and The Fat Man (Eric Pohlmann). The level of wit in Carry on Spying is sustained by the character name of leading lady Barbara Windsor, who plays the delectable Daphne Honeybutt. ~ Hal Erickson, Rovi

When a gang of London thieves, disguised as policemen, begin robbing other thieves....well, that's just not cricket. Benevolent burglar Peter Sellers, the man in charge of all "respectable" crooks in town (he even offers such incentives as a vacation plan and filmed training sessions!), sets about to ascertain how the renegade criminals have received inside information concerning upcoming robberies. He arranges a temporary truce with Scotland Yard so that both criminal and constable can work together in nabbing the miscreants. Alas, he must now contend with incompetent peacekeeper Lionel Jeffries, who poses an even greater threat than the "mole" who's been tipping off the phony cops (who is closer to Sellers than he'd ever suspect). Short, simple and sweet, the black-and-white Wrong Arm of the Law manages to pack more solid laughs than any three of Sellers' later overproduced Technicolor vehicles combined. ~ Hal Erickson, Rovi