Frances Cuka Movies

Director Roman Polanski gives one of Charles Dickens' best-loved stories a new and dynamic interpretation in this period drama. Oliver Twist (Barney Clark) is a young orphan in Victorian England who has been sent to a dank workhouse run by the miserly Mr. Bumble (Jeremy Swift) when it is learned there is no one to care for him. When Oliver dares to ask for more gruel, he is sent away to live with an undertaker, who treats him poorly. Preferring life on the streets to the treatment he's been receiving, Oliver runs away to London, where he falls in with the Artful Dodger (Harry Eden), a youthful pickpocket. The Artful Dodger is one of a gang of young thieves overseen by Fagin (Ben Kingsley), a paternal but sinister criminal mastermind. While Oliver finds a home of sorts with Fagin and his young cohorts, he also falls into a dangerous life made all the more threatening by the presence of Fagin's menacing overlord, Bill Sykes (Jamie Foreman). Oliver Twist was Polanski's first feature film after enjoying a major career resurgence following the international success of his Oscar-winning World War II drama The Pianist. ~ Mark Deming, Rovi

Once upon a time, pursuing wolves frighten horses drawing a carriage, and it tumbles down a hill. Dying, the pregnant woman inside orders her grieving husband Frederick (Sam Neill) to cut the baby from her womb, so that at least it might live. Years later, the infant is now headstrong young Lilli (Taryn Davis), who is resentful of her father's upcoming marriage to Claudia (Sigourney Weaver). Claudia is devoted to the memory of her own mother and installs a magic mirror that belonged to her in a wardrobe in her private room. More time passes; Lilli is now an adult, but her relationship with the now-pregnant Claudia has never improved, though Claudia has never done her any ill. Claudia loses her baby, and on the same night, gazes into her mother's mirror, which shows her an image of herself young and beautiful. She determines to rid herself of Lilli. Lilli is walking near the forest when Claudia's mute brother Gustav (Miroslav Taborski) draws a knife and chases the frightened young woman into the forest. She evades him, so he kills a pig and takes the heart to a delighted Claudia, who believes it to be Lilli's heart. She has Gustav put the heart in a stew cooking in the kitchen, and that night as she dines with Frederick, Lilli eats the stew with great pleasure. Later, Frederick and some men search for Lilli in the rainy forest.

Lilli takes refuge from wolves in a ruined castle, where she's confronted by seven vagabonds who've banned together to seek a lost gold mind. Will (Gil Bellows), scarred during the Crusades, is around Lilli's own age and resents her presence, but the older Lars (Brian Glover) is friendlier to her. The mirror tells Claudia that Lilli is still alive, so in the forest where Claudia keeps a shrine to her dead baby, she casts a spell designed to kill her stepdaughter. Lilli, helping the men in their mine, is almost smothered in a cave-in; she's rescued, but one of the men dies. The mirror again tells Claudia that Lilli still lives. Whirling in a black gown, Claudia conjures a wind that strikes the forest; giant trees topple all around Lilli and the men, killing Lars, but Lilli still lives. So the mirror now transforms Claudia into a bald old hag, and she goes into the forest herself. She offers an apple to Lilli, who takes one bite and falls into a trance that no one can tell from death. She's placed in a stained-glass coffin and lowered into the ground, but the agonized Will, who's fallen in love with her, lifts her from the coffin and a piece of apple falls from her mouth. She returns to life, and they all head for the castle. She arrives in time to interrupt Claudia in the act of slashing Frederick's throat, then confronts Lilli in a room full of mirrors. (There's a hint that Claudia had a part in the death of Lilli's mother.) Lilli stabs not Claudia but her mirror image. It bursts apart, shredding and burning Claudia to death.

This bold movie out-grims the Brothers Grimm, telling their oft-told tale as a horror movie/adventure -- and it works. In fact, the weakness of the movie is precisely that the story is so familiar, but the changes wrought by the writers and director keep it fresh for most of its length. It's handsomely designed, using real locations and costumes that are never too grand for the setting. Weaver is clearly having a great time as the not-so-wicked stepmother who eventually becomes a vengeful witch. Especially for a fairy tale, the characters are complex and not necessarily always likable; even Lilli (who is never called "Snow White") has a hard edge, and her "Prince Charming" is a bitter, scarred commoner. It's a shame this attractive, imaginative film didn't have any theatrical release in the United States; originality, especially in a field as well-ploughed as fairy tales, should be encouraged. ~ Bill Warren, Rovi

Director Bob Rafelson fulfilled a lifelong dream when he finally received backing to complete Mountains of the Moon. The film recreates the exploratory adventures of 19th century visionaries Sir Richard Burton (Patrick Bergin) and John Henning Speke (Iain Glen). The heart of the film is the effort by Burton and Speke to discover the true source of the Nile river. This occurs well into the film, after several torturous scenes involving the injuries sustained by the protagonists during other expeditions and their growing friendship (which, the film intimates, goes far beyond friendship). Rafaelson's fascination with this story, and his insistence upon painstaking historical accuracy, unfortunately compromises his ability to make an interesting film. There are so many starts and stops during the first half that we sincerely hope Burton and Speke will chuck it all and set up a pub in Bristol or something. What saves Mountains of the Moon is the rapport between its stars and the brilliant, epic-like cinematography of Roger Deakins. ~ Hal Erickson, Rovi

This Disney Studios attempt at entering the horror genre is a British production based on the chilling novel by Florence Engel Randall. An American family, headed by composer Paul Curtis (David McCallum) and his wife Helen (Carroll Baker), is renting an old mansion in England. The mansion's owner is Mrs. Aylwood (Bette Davis), who lives in a small guest house on the property. The mansion is surrounded by dense, forbidding woods. The Curtis children, Jan (Lynn-Holly Johnson) and Ellie (Kyle Richards), explore the forest. Mrs. Aylwood is continually searching the woods for her daughter -- whom she lost there 30 years ago. Over time, the children come to be haunted by the spirit of the daughter, Karen (Katherine Levy). The film was originally released in 1980 with an ending that included a huge alien from another planet. The studio pulled back the film after test audiences laughed at the special effects, and re-released the movie in 1982 with a new ending that circumvented the alien. ~ Michael Betzold, Rovi

Scrooge was designed as a follow-up to 1968's Oliver!, the Oscar-winning musicalization of Charles Dickens' Oliver Twist. The umpteenth musical version of Dickens' 1843 novelette A Christmas Carol, Scrooge features several sprightly Leslie Bricusse songs, including the bona fide hit "Thank You Very Much." Buried under mounds of latex, Albert Finney is Ebenezer Scrooge. The Three Ghosts who turn the miserly Scrooge's life around on Christmas Eve are portrayed by Edith Evans (Past), Kenneth More (Present) and Paddy Stone (Yet to Come). Sir Alec Guinness also appears as a fussy, slightly effeminate Marley's Ghost. Intriguingly, Finney performs his many songs live, without post-production dubbing. ~ Hal Erickson, Rovi