Susan Engel Movies

Sean Hogan's supernatural horror picture The Haunting of #24 dramatizes the otherworldly events that befall John when he moves into the strange residence known as #24. He ignored the admonitions of the seemingly batty old woman next door, who cautioned him not to move in; now, all hell breaks loose as unidentifiable noises erupt outside of the door, psychotic dreams fill his nighttime hours, and in time, bizarre residents turn up sans a resemblance to anything -- or anyone -- human. ~ Nathan Southern, Rovi

Adapted from Josephine Hart's spare novel by British screenwriter David Hare and French director Louis Malle, this brooding erotic drama concerns the obsessive sexual relationship between an English politician and his son's lover. Stephen Flemming (Jeremy Irons), an up-and-coming member of Parliament, has a beautiful and loving wife, Ingrid (Miranda Richardson), and two children, including son Martyn (Rupert Graves), a successsful journalist. Sparks fly, however, when Stephen meets beautiful art-world denizen Anna Barton (Juliette Binoche), Martyn's new girlfriend. A measured, seemingly passionless man who believes that life can be controlled, Stephen suddenly finds himself unable to resist brief but intense liaisons with the mysterious, melancholy Anna. Eventually she explains the palpable air of sadness that hangs over her: When she was 15, her beloved older brother committed suicide because he could not possess her. "Remember," Anna warns Stephen, "Damaged people are dangerous. They know they can survive." Drawn to Anna and the passion she engenders in him, Stephen tries to justify his betrayal by telling himself Martyn isn't serious about Anna; he is stunned, then, when the two announce their engagement. On the advice of Anna's mother (Leslie Caron), who sees right through the charade, Stephen tries to break things off. But soon the affair resumes with full force, eventually destroying several lives. Although Damage's stark, frank sex scenes were trimmed to attain an R rating for theatrical release, the original, uncut version is available on video and DVD. Richardson received an Oscar nomination for her work. ~ Brian J. Dillard, Rovi

This surreal British black comedy tells the tale of poor Oliver Shadey, a mechanic who longs to become a woman but lacks the money for the operation. Oliver is a talented lad and has the rare ability to read the minds of people and put their thought on film. He has the best of intentions when he hooks up with greedy Sir Cyril Landau with a way to earn some money and achieve his goal. ~ Sandra Brennan, Rovi

Walter Matthau plays a CIA agent who's been confined by office politics to a desk job. The disgruntled Matthau quits the service and heads to Europe, where he links up with former lover (an fellow ex-agent) Glenda Jackson. All goes smoothly until Matthau acts on the advice of yet another retired agent, Russian Herbert Lom, who suggests that Matthau write a tell-all autobiography. Spitefully, Matthau sends out copies of his first chapter to the heads of the CIA agencies throughout the world--and from that point on, he and Jackson don't have a moment's peace. This delights Matthau: now that all of his former colleagues are chasing after him, he has a reason to get up in the morning. As written by Brian Garfield, Hopscotch was a conventionally serious espionage novel. As adapted for the big screen by Garfield and Bryan Forbes, Hopscotch is a lively exercise in cloak-and-dagger comedy, even when the pursuit of Matthau turns deadly towards the end. ~ Hal Erickson, Rovi

In the second episode of the four-part story "The Stones of Blood," the Doctor (Tom Baker) and Romana (Mary Tamm) have come to Earth in hopes of retrieving the third segment of the Key to Time. Unfortunately, the segment rests within an ancient Druidic stone circle, fiercely guarded by the Cailleach, a powerful pagan goddess who has assumed human form, and her ambulatory stone "pets." First telecast November 4, 1978, "The Stones of Blood, Part 2" was written by David Fisher). ~ Hal Erickson, Rovi

In the conclusion of the four-part story "The Stones of Blood," archeologist Vivien Fay (Susan Engel) has revealed herself to be the Cailleach, a 4,000-year-old pagan goddess. Determined to prevent the Doctor (Tom Baker) from retrieving the third segment of the Key to Time from a Druidic stone circle, the Cailleach kidnaps Romana (Mary Tamm) and heads off to deep space. In his efforts to rescue Romana, the Doctor accidentally unleashes a fearsome fleet of "justice machines" called the Megara -- and for a while, it looks as though the reconstruction of the Key and the ultimate restoration of the balance between Good and Evil will never come to pass. First telecast November 11, 1978, "The Stones of Blood, Episode 3" was written by David Fisher. ~ Hal Erickson, Rovi

In director Peter Brook's King Lear, Paul Scofield portrays the title character, a senile old ruler, whose susceptibility to flattery proves his undoing. The premise involves Lear's ill-fated attempts to divide his kingdom amongst his three daughters -- a goal that ultimately leads to tragedy. The stark terrain of Denmark stands in for England in this version, adding a brooding visual texture to the picture that exists alongside the traditional Shakespearean dialogue. Lear's daughters are played by Irene Worth (Goneril), Susan Engel (Regan), and Anne-Lise Gabold (Cordelia); others in the cast are Alan Webb (Gloucester), Cyril Cusack (Albany), Patrick Magee (Cornwall), and Jack MacGowran (the Fool). Younger viewers and those faint at heart be warned: King Lear is one of Shakespeare's most graphically violent works, and director Brook takes every opportunity to emphasize the carnage and gore. ~ Hal Erickson, Rovi

Albert Finney both directs and stars in the "alienation" comedy-drama Charlie Bubbles. The eponymous Bubbles (Finney) is a trendy and fabulously wealthy novelist. Indulged at every turn, and able to indulge in his wildest fancies, Charlie is bored by his privileged existence. He staves off ennui by drinking and carousing with best-buddy Smokey Pickles (Colin Blakely) and by having a fling with his secretary Eliza (Liza Minnelli, in her screen debut). Billie Whitelaw delivers the film's best performance as Charlie's vitriolic wife. Directed in the "mod" fashion popular at the time, Charlie Bubbles sometimes resembles a music video without the music. ~ Hal Erickson, Rovi