Tony Curtis Movies

A Ghost in Monte Carlo is based on one of the millions of romance novels penned by Barbara Cartland. True to the Cartland canon, the story is set long ago (1875) and far away (The Riviera). Sarah Miles is top-billed as a pompadoured former madam, while Oliver Reed dispenses tons of Armor Star as a lascivious rajah. Christopher Plummer struts about bedecked with medals as a military hero, and Samantha Eggar is a mystery woman shrouded in black. But the story is carried by Lysette Anthony, the niece of Sarah Miles, who tries to break into upper-crust society--a goal impeded by a long-standing thirst for vengeance on the part of one of the older stars. A Ghost in Monte Carlo was produced in Europe by Sir Lew Grade, and first seen in the US over the TNT Cable Network. ~ Hal Erickson, Rovi

Meant to be a whimsical sword-and-sorcery film about a prince out to save his princess from the jaws of the Beast, Krull has enough scenes borrowed from blockbuster predecessors (Raiders of the Lost Ark, E.T., Robin Hood, Star Wars) and is gentle enough to be rather derivative, ordinary fare. Prince Colwyn (Ken Marshall) has inherited a kingdom under siege by the evil Beast, and not only has to rid the land of the monster, but he has to rescue his bride Lyssa (Lysette Anthony) from the Beast's clutches as well. In his magical land, horses can sometimes fly, medieval castles can harbor weapons that light up, and before he can defeat the Beast, the prince has to get his hands on the glaive (French for "double-edged sword"), a razor-sharp, magical weapon capable of killing the monster. One of the more notable aspects of Krull is that a 30-year old Liam Neeson plays the bit part of Kegan, in only his third full-length feature film. ~ Eleanor Mannikka, Rovi

Swordplay, secret messages, and the rustle of ballroom finery make this 1982 adaptation of The Scarlet Pimpernel a gala bash. Anthony Andrews heads the cast as English nobleman Sir Percy Blakeney, a conceited but amusing fop in the drawing rooms of British high society. But beneath his veneer of lacy impertinence is a man of bravado and derring-do. In disguise, he becomes the Pimpernel -- ta-da! -- and steals into France to rescue aristocrats condemned to the guillotine during the French Revolution. After each rescue, he leaves behind a scarlet pimpernel, a flower whose petals close at the approach of stormy weather. He also uses a signet ring engraved with a scarlet pimpernel to identify himself on the sealing wax of letters to compatriots. It is all jolly-good intrigue. Because he cloaks his schemes in great secrecy, not even his new wife Marguerite (Jane Seymour) realizes he is anything more than an innocuous dandy. Frustrated, the French send the ruthless Chauvelin (Ian McKellen) to England to serve as ambassador and ferret out the elusive Pimpernel. In a plot that ensnares Marguerite and closes the Pimpernel's petals, Chauvelin finally confronts his clever adversary, and it's en garde -- parry and thrust! ~ Mike Cummings, Rovi

This quaint horror anthology is loosely based on the works of horror novelist R. Chetwynd-Hayes -- who is portrayed by John Carradine as an active participant in his own tales. The author is invited by a suave vampire (Vincent Price) to accompany him to the title establishment, where he observes the secret social customs of various species of monsters -- which apparently include drinking, dancing, and watching undead strippers remove more than just their clothing. He is also made privy to the mating patterns of these creatures, whose tendency to inter-breed creates such new strains of monsters as the "shadmock" (a vampire-like entity with a deadly high-pitched whistle) and the "humgoo" (the sullen offspring of a human and a flesh-eating ghoul). Price's descriptions of these new beasties trigger accompanying vignettes far less entertaining than the framing story, which is rife with horror movie in-jokes, cheesy rubber monster masks, and music by pop-reggae band UB40(!). Accomplished horror-omnibus director Roy Ward Baker seems to delight in the opportunity for pure camp, although the overall silliness of the proceedings has put off more than a few horror buffs. ~ Cavett Binion, Rovi

This meandering distaff variant on The Omen begins with a visit from a strange pregnant woman (Angela Pleasence) to the house of a young suburban couple (Malcolm Stoddard and Cyd Hayman), where she gives birth to a baby girl and promptly exits stage left. The befuddled pair decide to adopt the white-haired, angelic-looking infant, only to discover the child's true nature in the years to come. One by one, the couple's natural offspring are killed off in horrible ways; any future attempts at conception end in miscarriage and Stoddard's eventual sterility. These horrific events unfold over a period of several years -- a concept which probably served better in print than on screen, where such leisurely plot development dooms any chance for suspense. Worse, the vague supernatural explanation is not adequately clarified by the film's denouement, leaving little more than a somber tale of meaningless tragedy. ~ Cavett Binion, Rovi

In this dark British comedy, a despondent businessman (Graham Chapman) decides to end it all after his wife leaves him. Unfortunately, he lacks the courage to do it to himself and so hires a professional assassin, telling him to do the deed no matter what. A short time passes and things look considerably brighter for the businessman who suddenly decides he wants to live. Unfortunately, nothing he says can convince his would be killer to stop his pursuit, and comic mayhem ensues. ~ Sandra Brennan, Rovi

Vault of Horror is the first sequel to 1972's horror hit Tales from the Crypt. It is also known as Tales from the Crypt, Part II. It continues it's predecessor's popular formula of using established stars in five witty short horror episodes. The first, "Midnight Mass," shows that having a vampire for a relative can be upsetting, to say the least. In "The Neat Job" a nagging neat-freak is neatly nullified. In "This Trick'll Kill You," a colonial overlord learns that it's not safe to steal magic tricks from natives. "Bargain in Death" exposes the greed of two insurance swindlers, and "Drawn and Quartered" takes "The Picture of Dorian Grey" one better. Among the stars appearing in these episodes are Terry-Thomas, Glynnis Johns, Curt Jurgens, Denholm Elliott and Tom Baker. ~ Clarke Fountain, Rovi

The phenomenon of Tales from the Crypt seems to have no endings, only changes. This successful pun-filled style of presenting ironic horror tales had its beginnings in William Gaine's E.C. comic series. At one time, outlandish E.C. Comics were at the heart of a national furor over the "evils" of comic books, which were thought to lead to moral degeneracy. The big comic-book publishers were frightened into freezing E.C. out of their distribution network, which killed the business. This British movie was based on the Tales from the Crypt series, which spawned several subsequent movies (and many imitators), at least one television series, and a whole new wave of comic books. Released in 1972, this movie has five episodes based on Gaines' stories, each introduced by Sir Ralph Richardson as the eerily cheery Crypt Keeper. His comedic approach to the role was misunderstood at the time, as reviewers expected a more solemn approach to horror. In "All Through the House," Santa Claus is someone to avoid. In "Reflection of Death" it takes some people a while to realize the truth about themselves. In "Poetic Justice" death cannot prevent one man's revenge. The episode "Blind Alley" demonstrates a new use for razor blades. "Wish You Were Here" cautions against taking native artifacts lightly (among other things). Among the stars featured are Peter Cushing, Joan Collins and Patrick Magee. ~ Clarke Fountain, Rovi

In this thriller, two lovers begin plotting the murder of the girl's wealthy grandmother so they can collect her inheritance. They decide they will frighten her to death by telling her that the world's young people have decided that all old people should be killed because they are too troublesome to care for. When a youthful protest group marches past her home, the poor grandmother falls dead from fright. Unfortunately for the greedy granddaughter, she made a little change in her will before she died. ~ Sandra Brennan, Rovi

Also titled A Touch of Love, this British drama concerns a woman who decides to keep and raise a baby born out of wedlock. Sandy Dennis stars as Rosamund Stacey, a graduate student who has an affair with a television broadcaster, George (Ian McKellen). When she learns that she is pregnant, her friends advise her to have an abortion, but after some confusion she decides to have the child. She doesn't tell George about it, and they drift apart. Her child is born, but the little girl has a heart condition and must undergo delicate surgery. Her life is saved, and Rosamund returns to school to complete her doctoral degree. Her daughter is a year old when Rosamund meets George again and invites him to her home. The story was written by Margaret Drabble from her own novel The Millstone. ~ Michael Betzold, Rovi

Made by the then 23-year-old director Michael Reeves, who died after making only one more movie, the notable Witchfinder General (1968), this is an unusual horror film concerning an elderly couple who conduct experiments with mind control, hoping to experience the lost excitements of youth through their subject, a young man whom they have persuaded to become a guinea-pig in the name of science. Once the process has begun however, a conflict ensues between the couple, the woman urging their subject to commit crimes in the pursuit of even greater thrills against the wishes of her husband, which in turn results in a horrific comeuppance for both, the price exacted for meddling in things beyond the province of humanity. With the casting of veteran actor, Boris Karloff in this swinging sixties setting, this is a rare example of the merging of two styles of horror movie-making, the old school which Karloff represented almost gone by the late sixties, a new, grittier contemporary genre waiting to succeed it. ~ Mark Hockley, Rovi