Stephen Dillane

Shrooms director Paddy Breathnach returns to terrify horror hounds with this supernatural shocker about a dangerous loner who falls into a deep coma, and travels out of body to seek revenge against his tormentors. Kenneth Chisholm is a depraved hospital janitor with a penchant for snapping voyeuristic cell phone pictures. One night, while out at a local bar, a group of trainee medical students work up the courage to confront the sleazy shutterbug. Devastated, Kenneth suffers from an epileptic fit and falls into a deep coma. Later, when remorseful trainee Catherine Thomas attempts to revive Kenneth by administering an experimental drug cocktail designed especially for coma patients, she inadvertently sets off a horrifying series of events that will put the lives of both herself and her fellow students in grave danger. As a result, Kenneth is jolted into an out of body state that allows him to enter the bodies of his enemies and manipulate them into doing his bloody bidding. But who can you turn to for help when the person you always counted on could be possessed by a madman? When anyone can be the killer, no one can be trusted. ~ Jason Buchanan, All Movie Guide

An average guy named Diego becomes the target of a dangerous gangster known as the Chief after damaging the criminal's car and meeting the girl of his dreams in writer/director Marco Martani's gritty and stylish crime drama. When Diego damaged an average car on the street, he had no idea that the car belonged to a dangerous crime kingpin known only as the Chief. Determined to seek retribution for the damage done, the Chief sets out to track Diego down. But Diego is oblivious to the threat that's about to turn his world upside down, and upon meeting a beautiful girl named Asia he believes he's finally found his soul mate. When Asia becomes an unfortunate victim in the Chief's violent plot for revenge, Diego sets out to teach the Chief a lesson in humility. But Diego has underestimated the power and influence of his ruthless rival, a miscalculation that could cost him his life. ~ Jason Buchanan, All Movie Guide

Raúl Ruiz's Klimt uses an amorphous, nonchronological narrative to cinematize events from the life of one of the 20th century's most profound artists: the Austrian painter Gustav Klimt (here portrayed by John Malkovich). Ruiz begins with Klimt's painful death from syphilis, and spends the remainder of the film transitioning, loosely and freely, between episodes that befell the painter. The film pays particularly strong attention to the artist's proclivity for scandalizing the European upper crust with overtly erotic subject matter and presentation, and his many affairs -- notably a lengthy one with his perpetual inspiration, Lea de Castro (Saffron Burrows). Throughout Klimt's life, a figure known as the Secretary (Stephen Dillane) comes and goes, who is actually a product of his fevered imagination -- and with whom the painter debates continually about the function of art in contemporary Western civilization, and the relevance of the artist. This enables Ruiz to create both a biographical sketch and a philosophical treatise. Visually, Ruiz and director of photography Ricardo Aronovich make the ambitious decision to recreate Klimt's style of painting on a cinematographic plane.

Unfortunately, difficulty befell this picture from the beginning, when the director (for some unascertainable reason) opted to draft the initial script in French, have it translated into German, and then have the German draft translated into English and revised by author Gilbert Adair -- rendering the dialogue stilted and unconvincing. Complications also arose on the distribution end. Still infuriated by the distributive mutilation that befell his previous film, the whopping Time Regained (and doubtless concerned that this might happen again), Ruiz pliantly struck a bargain with distributors for Klimt. He trimmed his original, 135-minute "director's cut" down to a 96-minute "producer's cut" for general consumption, which rendered much of the material less fluid and coherent. Both versions screened at the 2006 Rotterdam Film Festival. ~ Nathan Southern, All Movie Guide

The true story of an upset victory that helped change the sport of golf forever provides the basis for this period drama. Francis Ouimet (played by Shia LaBeouf) was born in 1893 to a working-class family in Massachusetts, and grew up fascinated by golf. However, at that time golf was considered a pastime of the wealthy and privileged, and British and Scottish players dominated the professional game. Ouimet's familial home was near the Brookline, MA, Country Club, and over the stern objections of his father, Francis got a job there as a caddy. Honing his skill in his spare time, Francis displayed a tremendous natural talent for the game and an understanding of its strategies, and 1913 he became the first amateur to play in the U.S. Open, held at the Brookline Country Club. Ouimet's presence was considered little more than a novelty at the time; Harry Vardon (Stephen Dillane), a British champion with six tournament victories under his belt, was considered a shoo-in to win, with Ted Ray (Stephen Marcus) his only serious competition. However, Vardon, a fellow working-class boy who had overcome tuberculosis to become Britain's premier professional golfer, had more in common with Ouimet than anyone expected, and the tournament unexpectedly became a hard-fought competition between an established star and a promising unknown. Directed by Bill Paxton in his second directorial effort, The Greatest Game Ever Played also stars Elias Koteas as Francis' father, Josh Flitter as the ten-year-old boy who becomes Francis' caddy, and Peyton List as Sarah Wallis, Francis' sweetheart. ~ Mark Deming, All Movie Guide

Filmmaker Rodrigo García takes an unusual look into the lives of nine different women in this episodic drama. Each of the film's nine sequences has been staged as a single shot, using the Steadicam system to allow the camera to follow the action fluidly and without cuts. In these short episodes (lasting between ten and 14 minutes), Holly (Lisa Gay Hamilton) has a brief moment of reverie while confronting the specters of her past in her old neighborhood. Maggie (Glenn Close) escorts her young daughter Maria (Dakota Fanning) to a cemetery as they visit the graves of their family members. Ruth (Sissy Spacek) is a married woman contemplating an affair while visiting Henry (Aidan Quinn) in his hotel room. Diana (Robin Wright Penn) unexpectedly runs into an old boyfriend, Damian (Jason Isaacs), while shopping for groceries. Camilla (Kathy Baker) is a hospital patient awaiting surgery for cancer. Samantha (Amanda Seyfried) is a teenage girl who helps look after her handicapped father Larry (Ian McShane). Sandra (Elpidia Carrillo) is a female prison inmate who is expecting a visit from her children. Sonia (Holly Hunter) lashes out at her boyfriend Martin (Stephen Dillane) when she finds out he's been cheating on her. And Lorna (Amy Brenneman) has an unexpectedly moving encounter with her ex-husband Andrew (William Fichtner) as she pays her respects to his second wife, who has just passed away. Nine Lives premiered at the 2005 Sundance Film Festival. ~ Mark Deming, All Movie Guide

Three women, separated by a span of nearly 80 years, find themselves weathering similar crises, all linked by a single work of literature in this film adaptation of the Pulitzer Prize-winning novel by Michael Cunningham. In 1923, Virginia Woolf (Nicole Kidman) is attempting to start work on her novel Mrs. Dalloway, in which she chronicles one day in the life of a troubled woman. But Virginia has demons of her own, and she struggles to overcome the depression and suicidal impulses that have followed her throughout her life, as her husband Leonard (Stephen Dillane) ineffectually tries to help. In 1951, Laura Brown (Julianne Moore) is a housewife living in suburban Los Angeles, where she looks after her son Richie (Jack Rovello) and husband Dan (John C. Reilly). Laura is also an avid reader who is currently making her way through Mrs. Dalloway. The farther she gets into the novel, the more Laura discovers that it reflects a dissatisfaction she feels in her own life, and she finds herself pondering the notion of leaving her life behind. Finally, in 2000, Clarissa Vaughn (Meryl Streep) is a literary editor who is caring for Richard Brown (Ed Harris), a former boyfriend and noted author, who is slowly losing his fight with AIDS. Clarissa is trying to arrange a party to celebrate the fact that Richard has won a prestigious literary award, but is getting little help from Richard's ex-lover, Louis (Jeff Daniels). As she labors to help Richard through another day, he wonders if his life is worth the unending struggle. The Hours also features Toni Collette, Miranda Richardson, Allison Janney, and Claire Danes. ~ Mark Deming, All Movie Guide

The discovery of a strange religious relic may have something to do with the terrible dreams haunting a young woman in this stylish thriller from Great Britain. When a pit opens up in a small English town, the local priest, Luke Fraser (Simon Russell Beale), is startled to discover what appears to be an ancient church lurking beneath. Fraser asks a friend with a background in archeology, Simon Kirkman (Stephen Dillane), to investigate the ruins, and Kirkman is startled to find a series of striking realistic sculptures and an usual portrait of Jesus in which the savior turns away from the church. As Kirkman and his wife, Marion (Kerry Fox), are driving home from the site, they accidentally hit Cassie Grant (Christina Ricci), an American student who is crossing the street. While Cassie isn't seriously injured physically, she has suffered a blow to the head that's left her with a mild case of amnesia; Marion brings Cassie home to recuperate until her memory returns, and in the meantime, Cassie helps keep an eye on Michael, Simon and Marion's young son. Soon, Cassie begins having a series of vivid and disturbing dreams involving the people of the town suffering violent deaths. Kirkman and Fraser begin wondering if the church was buried on purpose (and if so, why) and if Cassie's nightmares are somehow connected to the discovery of the house of worship. Completed in 2002, The Gathering didn't see release until 2004, when it opened in France and Germany. ~ Mark Deming, All Movie Guide

In the summer of 1937, wealthy timber importer William Cazalet (Frederick Treves) and his wife, Kitty (Ursula Howells), host their children -- Hugh, Edward, Rupert, and Rachel -- and grandchildren for an extended holiday at William's idyllic Sussex estate. At dinner, William invites Rupert (Paul Rhys), a struggling artist, to join his other two sons, Hugh and Edward, in his thriving firm. Idealistic Rupert declines the offer. While attempting to justify his decision to his self-centered wife, Zoe (Joanna Page), whom he married after his first wife died, Rupert also must cope with his adolescent daughter's resentment of her stepmother. Meanwhile, rumors of war with Germany unsettle the family, and they monitor radio broadcasts closely. Hugh (Hugh Bonneville) knows well the perils of soldiery. In the Great War, he lost the use of his left hand and suffered a head injury that causes recurring headaches. His wife, Sybil (Anastasia Hille), worries about him, and he in turn worries about her, especially when her health mysteriously declines. Edward (Stephen Dillane), on the other hand, worries only about getting caught cheating on his wife, Villy (Lesley Manville), who is pregnant. His lustful behavior becomes truly detestable when he gropes his own daughter. His sister, spinster Rachel (Catherine Russell), is his opposite: reserved, always thinking of others. But a secret longing distresses her, and she vies with it in silence. Meanwhile, Villy, Zoe, and Edward's mistress all become pregnant; Sybil develops cancer; Rupert enlists when the Nazis go on the march; and a nephew comes to the Cazalet estate to escape his autocratic father. The war, familial conflict, and Sybil's illness test the family as never before. The final two hours of the six-hour saga reveal whether the Cazalets have the mettle to choose selflessness over self. ~ Mike Cummings, All Movie Guide

British television comic Steve Coogan made his first bid for a big-screen career in this comedy, in which he plays Simon Garden, a singularly inept parole officer who has not had terribly good luck with his clients -- after many years on the job, only three of the former prisoners he's been looking after have avoided returning to a life of crime. Garden is transferred from his post in Blackpool to a new assignment in Manchester, and it isn't long before he finds himself in hot water. Garden happened to be on hand when Burton (Stephen Dellane), a crooked cop, murdered a drug dealer with whom he had been involved in a cocaine deal. Realizing he's in trouble, Burton rearranges the evidence so that Garden looks like the killer. A surveillance camera captured Burton's crime on tape, and now Garden must get his hands on the tape in order to clear his name. However, Burton has cleverly stashed the tape in a top security bank vault to keep it away from Garden, so the parole officer must stage a break-in to collect the evidence -- and he chooses as his accomplices George (Om Puri), Jeff (Steven Waddington), and Colin (Ben Miller), the three parolees who've stayed out of trouble until now. The Parole Officer also features Emma Williams as a former associate of Burton's who ends up helping out Garden, and cameos from Omar Sharif and Jenny Agutter. ~ Mark Deming, All Movie Guide

A drama of romantic obsession turned violent, Love and Rage was inspired by a true story and partially filmed in the home where the actual events occurred. James Lynchahaun (Daniel Craig) works at the estate of Agnes MacDonnell (Greta Scacchi), a wealthy woman who considers her privacy important but shows flashes of a high-spirited nature among those she trusts. When James discovers that a local land agent has been cheating Agnes, he shares the information with her. She's grateful to him and they get to know each other a bit better, leading in time to a romantic relationship. James soon begins displaying a rather unusual bent, appearing at the estate in disguise and meeting Agnes dressed as a priest. Agnes doesn't appear to mind this -- at times, she actively welcomes it -- yet what starts as erotic play-acting grows into something more sinister, and in time James's actions become less amusing and more threatening. In addition to drawing from real-life events, director Cathal Black and screenwriter Brian Lynch adapted their story from the novel The Playboy and the Yellow Lady by James Carney. ~ Mark Deming, All Movie Guide

Based on the best-selling memoirs of the late Dame Mary Durack, this big-budget Australian historical drama miniseries traces three generations of the Duracks. After several family deaths, the Duracks flee Irish famines of the 1840s for a better life Down Under, where they make a fortune with Queensland cattle -- only to lose it all in a property crash near the turn of the century, prompting patriarch Patsy Durack (Stephen Dillane, of Welcome to Sarajevo) to reflect, "If it's kings we are, it's kings in grass castles that may be blown away in the wind." Compressing 75 years into four hours, the Durack saga is set against the wider tapestry of pioneering Australian history during the 19th Century. Premiered March 29, and April 5, 1998 on Seven Network Australia. ~ Bhob Stewart, All Movie Guide

A woman is torn by both romantic and maternal love in this period romantic drama set in the 1830s. Elisabeth (Sophie Marceau), a Swiss governess, is the beautiful daughter of a once-prosperous landowner who has fallen deeply into debt. Charles Godwin (Stephen Dillane) is a prominent British aristocrat whose wife has suffered a crippling accident; doomed to spend the rest of her life in a semi-comatose state, she cannot bear Charles the child he so desperately needs. So Charles strikes an agreement with Elisabeth; she will conceive a child with him and hand it over after it is born in exchange for him paying off her father's debts. Elisabeth and Charles set aside three nights to make a baby, and while the matter is supposed to be purely functional and not romantic, Elisabeth finds it difficult to feel that way at the end of the third evening. She is heartbroken when she has to give up the child, and her obsession with the daughter she gave away is reflected in her journals and sketchbooks. Seven years later, Elisabeth discovers the whereabouts of Charles and their daughter, Louisa (Dominique Belcourt); when she learns they need a governess, she is hired for the position by Charles's sister-in-law Constance (Lia Williams), who is unaware that Elisabeth is Louisa's birth mother. When Charles discovers that Elisabeth is the new governess, he is furious, but he eventually takes pity on her and allows her to stay with the child for one month. However, before long, Elisabeth's attraction to Charles resurfaces, and their clandestine romance forces a number difficult questions. Firelight marked the directorial debut of noted screenwriter William Nicholson. ~ Mark Deming, All Movie Guide