Derek Deadman

This film is a '90s version of the classic Robin Hood story, with Kevin Costner starring as the good-guy thief. Costner is joined in his efforts against the murdering Sheriff of Nottingham (Alan Rickman) by Morgan Freeman who plays a philosophizing Moor, and by Nick Brimble, who plays Little John (anything but little). After Robin barely survives a watery skirmish with Little John, the two become allies and Robin joins forces with Little John's band of robber thieves to overcome the evils of the dastardly Nottingham sheriff. ~ All Movie Guide

Chevy Chase as Clark Griswold and his wife, Ellen (Beverly D'Angelo) -- and their two generally repulsive children, Rusty (Jason Lively) and Audrey (Dana Hill) -- are off on a European vacation thanks to a winning stint on a quiz show. As the movie unfolds in brochures featuring London, Paris, and regions in Italy and Germany, the family undergoes a series of slap-schtick misadventures that include thinking an overwhelmed German husband and wife are long-lost relatives and getting into a funk in their train compartment. Not on a par with the first National Lampoon vacation, the end of this European vacation is something that cannot come too soon for many viewers. ~ Eleanor Mannikka, All Movie Guide

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, All Movie Guide

The title of the 1983 James Bond adventure Never Say Never Again is a self-mocking reference to star Sean Connery's insistence back in 1971 that he would never play Bond again. Reportedly, the huge salary offered Connery was but one consideration that brought him back to the 007 fold; the other was the producers' assurance that Connery would have full control over all aspects of production, a promise that was not kept often enough to the star's liking. Essentially, this film is a remake of the 1965 Bond flick Thunderball (the producers were able to get away with this due to a legal tangle involving the original 1961 Ian Fleming novel). Bond emerges from cozy retirement to cross swords with Largo (Klaus Maria Brandauer), a megalomaniacal business exec who steals several nuclear missiles, intending to bring the World Powers to their knees. Kim Basinger plays Domino, Largo's mistress, whose loyalty Bond secures when she learns that Largo was responsible for the death of her brother. In addition to Basinger, the film boasts a toothsome villainess by the name of Fatima Blush (played by Barbara Carrera). After wrapping Never Say Never Again, Sean Connery swore that this was his absolutely final performance as James Bond; thus far, he's kept his word. ~ Hal Erickson, All Movie Guide

This weak, unevenly plotted story of a con artist and his helper features Gregg Henry as Ben who works as a lounge pianist in a London hotel, and Elizabeth Daily as Cass, a fellow American out looking for some fun in life. The two team up to fraud hotel guests by stealing and using the guests' credit cards, with Ben showing Cass the tricks of the trade. Their scam is not foolproof, so the daring duo may be living free on borrowed time unless they just happen to change their ways. ~ Eleanor Mannikka, All Movie Guide

A Nightingale Sang in Berkeley Square was the original title of this British caper film. David Niven does his suave 'n' blase bit as a criminal mastermind planning a giant bank heist. Richard Jordan co-stars as an American ex-con tapped to oversee the operation. Gloria Grahame, in one of her last roles, masticates the scenery as Jordan's rude-and-crude mom. The Big Scam picked up a third title when it was released to video as The Mayfair Bank Caper. ~ Hal Erickson, All Movie Guide

In the conclusion of the six-part story "The Invasion of Time," the Sontarans launch their invasion of the Time Lords' home world of Gallifrey. As Lord President, the Doctor (Tom Baker) tackles the responsibility of fending off the Sontarans. But first, he must assemble the forbidden de-mat gun, controlled by the Great Key of Rassilon -- and this act has a very profound effect on both the Doctor and his traveling companion, Leila (Louise Jameson, making her farewell Doctor Who appearance). Written by Graham Williams and Anthony Read under the joint pen name of David Agnew, "The Invasion of Time, Episode 6" originally aired on March 11, 1978, as the final episode of Doctor Who's 15th season. ~ Hal Erickson, All Movie Guide

In the fifth episode of the six-part story "The Invasion of Time," the Doctor appears to be cooperating with the telepathic Vardans in their efforts to conquer his home planet Gallifrey. But just when victory seems within the Vardans' grasp, the Doctor springs the trap that he has planned all along. Alas, Gallifrey now faces a threat from an even more formidable enemy -- the Sontarans. First telecast March 4, 1978, "The Invasion of Time, Episode 5" was written by Graham Williams and Anthony Read, under the joint pen name of David Agnew. ~ Hal Erickson, All Movie Guide

In this children's drama, a London boy is struck upon the head. When he regains consciousness, he discovers that he can foretell crimes before they are committed. With this gift he is able to lead the police to arrest a notorious criminal mastermind who is also a prominent, well-respected businessman. ~ Sandra Brennan, All Movie Guide

Italian director Pier Pasolini tells four of the Chaucer tales in this graphic and satirical picture that chronicles the 14th-century's social, sexual, and religious standards in England. In Pasolini's Trilogy of Life, this second entry follows The Decameron and precedes The Arabian Nights. ~ Kristie Hassen, All Movie Guide