Irene Lamb Movies

Director Sally Potter examines the effects of globalism in the information age in this drama following a young blogger named Michelangelo as he interviews a series of eccentric subjects over the course of seven days. In a prominent New York fashion house, flamboyant designer Merlin prepares to debut his latest collection as curious blogger Michelangelo shoots interviews on his cell phone. His subjects; a disparate mix of New York denizens including a celebrity supermodel named Minx, a financial backer named Tiny Diamonds, a seamstress named Anita de Los Angeles, a pizza delivery boy named Vijay, a war photographer named Frank, and a critic named Mona Carvell. The fashion industry is in crisis thanks to globalization and a faltering economy. As the ever-increasing gap between appearance and reality widens, Michelangelo becomes the person everyone turns to in order to vent their frustrations. Later, when a model dies on the runway and police launch a murder investigation, the interviews take the form of confessionals in the eyes of a child armed with the two most powerful tools of his generation: the Internet and a cell phone. ~ Jason Buchanan, Rovi

Two men who have made a career out of spinning remarkable stories find themselves bringing them to life in this inventive fantasy inspired by the creators of some of the world's best-loved fairy tales. Will Grimm (Matt Damon) and his brother Jake Grimm (Heath Ledger) earn their living by traveling from village to village and vanquishing strange supernatural beasts that have been menacing the populace. Or at least that's what their clients think has been happening; as it happens, Will and Jake are confidence men who cleverly stage the ghostly attacks and then take payment for making the creatures they fabricated go away. One day, the brothers arrive in a town and offer to help its people drive away evil spirits, unaware that the community is bordered by a genuine enchanted forest, and that young girls in the village have been disappearing at a frightful rate. The Grimm Brothers must now learn how to deal with real magic, with the help of the lovely but fearless Angelika (Lena Headey). Directed by Terry Gilliam, The Brothers Grimm also stars Monica Bellucci, Peter Stormare, and Jonathan Pryce. ~ Mark Deming, Rovi

Directed by Richard Loncraine, Wimbledon follows the plight of aspiring tennis-star Peter Colt (Paul Bettany), whose bad luck seems to manifest itself just about everywhere. Professionally, Peter is near the very bottom of the world tennis ranks, and personally, he can't find love despite his best efforts to do so. In a rare turn of events, however, Peter is chosen as a wildcard to play at Wimbledon, the tennis world's most prestigious competition. While there, he meets American tennis ingénue Lizzie Bradbury (Kirsten Dunst), and his confidence on the court and off improves tenfold as he falls further in love with her. Driven by his newfound luck, Peter climbs to the top of the tournament players at record speed, until he actually has a fighting chance of winning the men's singles title -- the question is whether or not his good fortune will hold out long enough for him to get the trophy. ~ Tracie Cooper, Rovi

One of William Shakespeare's lesser-known plays, Titus Andronicus was staged in New York by award-winning theatrical director Julie Taymor in an acclaimed 1995 production, before her widely praised Broadway version of The Lion King. Taymor revisits that production for her first motion picture, with the addition of a star-studded cast. Roman General Titus Andronicus (Anthony Hopkins) has returned from defeating the Goths in a bloody battle, but the victory has left him with mixed feelings, as the war took the lives of several of his sons. Titus is reminded by his first-born son Lucius (Angus Macfadyen) that their faith demands the sacrifice of an enemy prisoner as a gift to the gods for their victory. Titus chooses the eldest son of Tamora (Jessica Lange), the Queen of the Goths, who has since been taken hostage by Titus's troops. Tamora pleads for her son's life, but Titus goes ahead with the sacrifice. She then becomes the lover of the new emperor of Rome, Saturninus (Alan Cumming), a weak-willed and corrupt man. Tamora uses her connection to the throne for her own ends: in retaliation for the death of her son, Tamora and her surviving sons, Chiron (Jonathan Rhys Myers) and Demetrius (Matthew Rhys), brutally rape Titus's beloved daughter, Lavinia (Laura Fraser). This act sets in motion an ever-tightening spiral of revenge and retaliation that leaves few of the participants unscathed. The supporting cast includes Colm Feore as Marcus, Harry Lennix as Aaron, and James Frain as Bassianus. ~ Mark Deming, Rovi

Maverick filmmaker Sally Potter, who won acclaim in 1993 with the gender-bending, history-warping Orlando, returns to her dancing roots with The Tango Lesson. Potter wrote, directed, and starred in the film, also assembling the soundtrack, dancing, and even singing the film's final song. Potter was trained as a dancer in London in the 1970s before turning to film. Here, she plays Sally, a character who is essentially herself. Sally is a screenwriter suffering from writer's block and dissatisfaction with her own project, a murder mystery movie called Rage which focuses on the fashion industry. To take a break, she travels to Paris, where she sees the dancer Pablo Veron perform the tango. She becomes obsessed with the dance and offers Veron a part in her film in exchange for lessons. The two become deeply involved as dancers and as lovers, and their emotional intimacy threatens the success of their dancing together. The film is shot mostly in black and white, except for some dream sequences in which Sally fantasizes about her film project. Veron performs many modern dance numbers, including tap and ballroom dancing, as part of his tango repertoire. ~ Michael Betzold, Rovi

Unlike the more familiar animated Pinocchio by Disney, there are no song interludes here, and characters added to the story by Disney (such as Jiminy Cricket) are not included. Producer Francis Ford Coppola and director Steve Barron, (known for the first Teenage Mutant Ninja Turtles film) closely adhere to Carlo Collodi's 1883 novel and use the visually timeless setting of a Czechoslovakian village. Jim Henson's puppet studio skillfully brings this Pinocchio to life. Long ago, in his youth, Gepetto (Martin Landau) loved but did not court Leona (Genvieve Bujold), who married Gepetto's brother instead. In that earlier time, he carved her initials with his onto a tree. Now his brother is dead, and though he still feels for Leona, he is still too shy to woo her. Instead, the old puppet-maker goes into the forest and cuts down a tree in order to make a puppet just for himself. The tree is the same one he carved his initials into when he was younger, and it has the magic of his love in it. Soon after the puppet Pinocchio is made, he comes to life. Aside from being made of wood, he begins to live the life of a perfectly normal little boy. He even goes to school. Lorenzini, an evil magician who runs a children's puppet show, hears of Pinocchio and wants to use him in his show. Lorenzini lures children to his show, only to later turn them into donkeys. Donkeys are useful creatures, and Lorenzini makes a lot of money selling them. Through many trials and tribulations, the puppet-boy earns the right to become the human boy Pinocchio (Jonathan Taylor Thomas). ~ Clarke Fountain, Rovi

From the directing team of identical twin brothers Timothy Quay and Stephen Quay, Institute Benjamenta, or This Dream People Call Human Life focuses on the experiences of Jakob Von Gunten (Mark Rylance), who has come to the titular institute to train to become a manservant. Amidst a series of unorthodox lessons under the instruction of brother and sister Johannes Benjamenta (Gottfried John) and Lisa Benjamenta (Alice Krige), Jakob becomes attracted to Lisa and she to him. As the magnetism between the two of them intensifies, Lisa's health declines more and more, leading Johannes to question Jakob's influence on her. The screenplay was adapted from the novel Jakob von Gunten by Robert Walser. ~ Matthew Tobey, Rovi

Young Bastian again seeks refuge from the problems of the real world in the mystical land of Fantasia in this second, inferior sequel to the sleeper 1984 hit The Neverending Story. The set-up is familiar, as Bastian Bux (here played by Jason James Richter), who has moved to a new town, again rediscovers the magical book that serves as the portal to Fantasia and finds solace in the power of imagination. Unfortunately, Bastian is having problems with a group of bullies known as the Nasties, who discover the boy's secret and steal the book. Their meddling wreaks havoc, ultimately releasing Fantasia's bizarre creatures into Earth's dimension. Naturally, it's up to Bastian to retrieve the book and return the Luck Dragon, Rock Eater, talking tree, gnomes, and other assorted creatures to their rightful home. Visually less impressive than its predecessors, and extremely distant from the Michael Ende book that was the series' original inspiration, The Neverending Story 3 made little impression on audiences or critics, who generally agreed that the film was the weakest of the series. ~ Judd Blaise, Rovi

An unusually principled young Viking becomes increasing uncomfortable with all the killing and plundering that goes with the job, and sets out on a magical journey in order to bring about world peace. Former Monty Python member Terry Jones attempts to have his story of Erik's seemingly hopeless quest operate as both witty, lunatic satire and sincere children's fantasy. However, despite a good cast and some interesting design elements, the film fails to completely succeed at either of its goals. ~ Judd Blaise, Rovi

Director Terry Gilliam adroitly applies his Monty Python sensibilities upon the "career" of famed German prevaricator Baron von Munchausen. Played herein by John Neville, the baron is seen quelling a war that he himself started, flying into the stratosphere on the back of a cannonball, ballooning to the moon, exploring the innards of a volcano, being swallowed by a whale....In short, all of Munchausen's fabulous lies are here presented as "truth," played out in full view of nonplussed witnesses Eric Idle, Charles McKeown, Jack Purvis, and Sarah Polley. Fringe benefits include several loving medium shots of jaybird-naked Uma Thurman as Boticelli's Venus and an extended unbilled cameo by Robin Williams -- that is, by the head of Robin Williams -- as the King of the Moon. Filmed under considerable duress on a budget eventually exceeding 45 million dollars, The Adventures of Baron Munchausen never quite caught on with moviegoers, though it has enjoyed a lucrative afterlife on videocassette. ~ Hal Erickson, Rovi

Gene Wilder directed and wrote (along with Terence Marsh) this mild farce which is a pale reminder of Wilder's glory days in Mel Brooks' Young Frankenstein. Wilder plays ham radio actor Larry Abbot, who takes his fiancee Vickie Pearle (Gilda Radner) out to meet his relations on a gloomy country estate before they are married. The creepy clan is lorded over by the bizarre Aunt Kate (Dom DeLuise), who keeps babbling about a local rampaging werewolf. As Larry and Vickie try to spend a quiet weekend in the mansion, they are assaulted with all manners of spooky goings-on -- the kind of routines that were already growing whiskers when Abbott and Costello first dusted them off over fifty years ago. ~ Paul Brenner, 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