David D. Osborn Movies

In this English film, a group of orphans visiting the home of a wealthy, retired singer (Shelley Winters) discover that the woman is hiding a disturbing secret. ~ Iotis Erlewine, All Movie Guide

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, All Movie Guide

In this 1967 drama, resourceful British agent Bulldog Drummond, who appeared onscreen in a series of spy stories between 1929 and 1951, returned to duty in the wake of James Bond. Here, Drummond (Richard Johnson) is on the trail of Carl Petersen (Nigel Green), a corrupt industrialist who has a bad habit of stealing the ideas of others and then killing them so he can reap their profits. The nefarious Petersen has a team of female assistants willing to kill on command, led by Irma (Elke Sommer) and Penelope (Sylva Koscina). One more Bulldog Drummond vehicle, Some Girls Do, followed in 1969 before the series was retired again. ~ Mark Deming, All Movie Guide

In this murder mystery a flight attendant becomes frightened for her life when she discovers that one of her coworkers was killed because the murderer thought he was killing her. Her fear does not prevent her from looking into the matter and trying to learn the killer's identity. ~ Sandra Brennan, All Movie Guide

Dumpy, dough-faced British comedienne Margaret Rutherford was not precisely the physical type Agatha Christie had in mind for the prim, tweedish sleuth Miss Marple. Still, Rutherford's first "Marple" movie Murder, She Said did so well at the box office that there was no question she would continue appearing in the role in the inevitable sequels. In this initial effort, Marple witnesses a murder being committed on a speeding train. She informs the authorities, but they find no evidence of a killing and write off Marple as a doddering eccentric. Determined to prove that she's not imagining things, Marple investigates the area around the stretch of railroad track where the murder occurred. She winds up on the estate of James Robertson-Justice, disguised as a maid. Many family skeletons are exhumed by Miss Marple before she proves that she indeed saw a murder and pinpoints the guilty party. Stringer Davis, Margaret Rutherford's husband, makes his first appearance as Miss Marple's chaste companion Mr. Stringer. Based on Agatha Christie's 4:50 From Paddington, Murder, She Said was released in some markets as Meet Miss Marple. ~ Hal Erickson, All Movie Guide

Why has total stranger Richard Todd shown up at the villa of wealthy Anne Baxter? Why does he claim to be her long-lost brother? Is Todd planning to finagle Baxter out of her inheritance? Is someone going to end up seriously dead? The answers to these questions can be found in Chase a Crooked Shadow, a confounding chiller with more than a few adroit plot twists. Before the film has run its course, we learn that the true villain is not necessarily whom it appears to be--nor is the heroine all that she seems. Chase a Crooked Shadow was based on an 1943 Whistler radio play; the plot was later reworked into no fewer than three American made-for-TV movies. ~ Hal Erickson, All Movie Guide