Roger Ashton-Griffiths Movies

An emotionally tortured teenager returns from the grave and promptly makes life hell for those who ostracized him, in this jet-black horror comedy with echoes of Carrie At the center of the British secondary school in question is Justine (Tuppence Middleton), a pampered, elitist rich bitch. Following the suicide of a bullied classmate - overweight, asthmatic Darren Mullett (Calvin Dean) - Justine tries to wheedle her way into the "in crowd," whose members are every bit as snotty and obnoxious as she is, and strikes up a torrid affair with Alexis (Dimitri Leonidas), the most popular boy in class. For a time, everyone assumes that Darren is dead and gone; then his corpse begins turning up and gruesomely picking off the bullies, one by one. ~ Nathan Southern, Rovi

Steampunk aesthetics inform this story of a dystopic future in which humankind wages an explosive last stand against the demonic NecroMutants, who would see the entire human race brutally annihilated. Thomas Jane, Ron Perlman, Devon Aoki, and John Malkovich star in this effects-heavy sci-fi action thriller from director Simon Hunter (Dead of Night). ~ Jason Buchanan, Rovi

The assassination of Julius Caesar has plunged Rome into chaos, and the only hope for the once-thriving empire lies in the ability of his 18-year-old nephew Octavius to defeat the manipulative Marc Anthony in this epic miniseries starring Santiago Cabrera and directed by John Gray, Kim Manners, and Greg Yaitanes. On the eve of Caesar's demise, Rome is thrown into anarchy and Octavius is thrust into exile with his guardian Tyrannus lest he meet a similar fate as his uncle at the hands of those who wish to see Caesar's bloodline severed once and for all. In the years that follow, Octavius is trained by his faithful mentor for the day he will return to Rome and seek revenge against the man who orchestrated his uncle's downfall. ~ Jason Buchanan, Rovi

The violent rise of gangland power in New York City at a time of massive political corruption and the city's evolution into a cultural melting pot set the stage for this lavish historical epic, which director Martin Scorsese finally brought to the screen almost 30 years after he first began to plan the project. In 1846, as waves of Irish immigrants poured into the New York neighborhood of Five Points, a number of citizens of British and Dutch heritage who were born in the United States began making an open display of their resentment toward the new arrivals. William Cutting (Daniel Day-Lewis), better known as "Bill the Butcher" for his deadly skill with a knife, bands his fellow "Native Americans" into a gang to take on the Irish immigrants; the immigrants in turn form a gang of their own, "The Dead Rabbits," organized by Priest Vallon (Liam Neeson). After an especially bloody clash between the Natives and the Rabbits leaves Vallon dead, his son goes missing; the boy ends up in a brutal reform school before returning to the Five Points in 1862 as Amsterdam (Leonardo DiCaprio). Now a strapping adult who has learned how to fight, Amsterdam has come to seek vengeance against Bill the Butcher, whose underworld control of the Five Points through violence and intimidation dovetails with the open corruption of New York politician "Boss" Tweed (Jim Broadbent). Amsterdam gradually penetrates Bill the Butcher's inner circle, and he soon becomes his trusted assistant. Amsterdam also finds himself falling for Jenny Everdeane (Cameron Diaz), a beautiful but street-smart thief who was once involved with Bill. Amsterdam is learning a great deal from Bill, but before he can turn the tables on the man who killed his father, Amsterdam's true identity is exposed, even though he has concealed it from nearly everyone, including Jenny. Gangs Of New York was the first film in two years from actor Leonardo DiCaprio; ironically, it was at one time scheduled to open on the same day as Catch Me if You Can, the Steven Spielberg project that DiCaprio began filming immediately after Gangs wrapped. ~ Mark Deming, Rovi

This four-hour fantasy miniseries, elaborating on the Arthurian legend and filmed in England and Wales, offers a portrait of the wizard Merlin (Sam Neill), following his life as a youth (Daniel Brocklebank) to his later conflicts with the evil Queen Mab (Miranda Richardson) and his love for Nimue (Isabella Rossellini), who is kidnapped by Lord Vortigern (Rutger Hauer). Amid battles and displays of magic and mysticism (courtesy of London's Framestore and the Jim Henson Creature Shop), Merlin strides the English countryside encountering Excalibur, the unbreakable sword, and a Camelot cast of colorful characters including the morphing manservant Frik (Martin Short), Morgan le Fey (Helena Bonham Carter), King Arthur (Paul Curran), Lancelot (Jeremy Sheffield), and Guinevere (Lena Heady). Premiered April 26, 1998 on NBC. ~ Bhob Stewart, Rovi

Former Monty Python members Terry Jones, Eric Idle, John Cleese, and Michael Palin were reunited by director Jones for this live-action adaptation of the 1908 children's fantasy classic by Kenneth Grahame (1859-1932). The actors have only slight physical changes to suggest animal characteristics, plus tails protruding from their Edwardian-style costumes. In pre-WW I England, fascist Weasels prowl the countryside, forcing modest Mole (Steve Coogan) from his underground home after the Weasels acquire the meadow from wealthy, waddling Mr. Toad (Jones). Toad's inheritance is leaking away because of his fascination with the recently invented motorcar. After Mole takes shelter with refined Rat (Idle), the two set out for Toad's cavernous mansion. Toad crashes into another vehicle, but unfortunately, his attorney (Cleese) has nothing nice to say in Toad's defense. Toad's behavior in court prompts the judge (Stephen Fry) to give him a century-long jail sentence. Rat and Mole plan to spring Toad with the help of the hibernating Badger (Nicol Williamson), but Toad simultaneously puts his own escape plan into motion. Back at Toad Hall, the Weasels construct a dog-food factory and intend to destroy the main house by blowing it up-so the threatened animals make plans to retake Toad Hall.

Crew members who worked on past Python films include James Acheson (production/costume design) and John Du Prez (original music and songs). Lawrence Van Gelder (New York Times) reviewed, "The Wind in the Willows, brimming with verbal and visual wit and imagination, driven by high adventure, reveling in English eccentricity, enlivened by bursts of song, unafraid of ideas and filled with color and splendid performances, exposes most other movies intended to attract children as out-and-out pap." This film should not be confused with the 1996 animated adaptation which also has Michael Palin in the cast. Filmed at Burnham Beeches (in Buckinghamshire, England). Other earlier versions: the second half of Disney's animated The Adventures of Ichabod and Mr. Toad (1949); live-action by the Minneapolis Children's Theatre (1983); stop-motion animation for British TV (1983); 1982 stop-motion animation by John Semper (Spider-Man); and Rankin-Bass animation for U.S. TV (1987). ~ Bhob Stewart, Rovi

This Disney-produced made-for-TV version of the classic children's tale features Noley Thornton as Heidi, the plucky girl from the Alps, with Jane Seymour as a mean-spirited governess and Jason Robards as Heidi's kindly grandfather. ~ Mark Deming, Rovi

Sometimes a family title, among the nobility of England, goes to the "collateral" heirs -- people not in the direct line of decent, like cousins, great-nephews and the like. On rare occasions, these people are not even aware that they are about to be elevated to the House of Lords, and they have been living more-or-less ordinary lives. In this comedy, the family which lacks direct heirs is the Royal Family of England -- as all of the likely heirs have died one after the other in swift succession. In this comedy, the "collateral heir" is an exuberant, fence-busting All-American slob (and pretty good rock n' roll musician) by the name of Ralph (John Goodman). Unknown to him, his grandmother had an affair with a royal prince. Ralph's a good guy, and eager to please. He recognizes the importance of the royal hoopla to England and works very hard to fit in as its new designated king. He is assisted by the ever-unctuous, very serious family factotum Willingham (Peter O'Toole). The trouble is, he doesn't have instincts for politics English-style, and he is constantly "putting a foot wrong," as they might say. The most difficult situation for him is when he develops a new love interest, and she's not "acceptable" to the upper crust. In addition to being hounded by the tabloids, he finds that "the good of the state" requires that he drop his new girlfriend. Things really come to a head just before Ralph's coronation as king. Reviewers generally loathed this feel-good comedy, but audiences seem to have enjoyed it tremendously, and it has done well in video and TV airings. ~ Clarke Fountain, Rovi

This is probably Peter Greenaway's most famous (or infamous) film, which first shocked audiences at the 1989 Cannes Film Festival and then on both sides of the Atlantic. A gang leader (Michael Gambon), accompanied by his wife (Helen Mirren) and his associates, entertains himself every night in a fancy French restaurant that he has recently bought. Having tired of her sadistic, boorish husband, the wife finds herself a lover (Alan Howard) and makes love to him in the restaurant's coziest places with the silent permission of the cook (Richard Bohringer). Though less cerebral than Greenaway's other films, featuring deadly passions reminiscent of Jacobean revenge tragedies of the early 17th century, the picture still offers the director's usual ironic and paradoxical comments on the relations between eating and sex, love and death. The film is at once funny and horrific, and those who are not used to Greenaway's peculiar style might be even disgusted or shocked; however, one might mention Sacha Vierny's brilliant camerawork, Jean-Paul Gaultier's gaudily stylized costumes, and Michael Nyman's somber, pulsating music, which will haunt the viewer long after the film's end. ~ Yuri German, Rovi

Gene Wilder directed and wrote (along with Terence Marsh) this mild farce which is a pale reminder of Wilder's glory days in Mel Brooks' Young Frankenstein. Wilder plays ham radio actor Larry Abbot, who takes his fiancee Vickie Pearle (Gilda Radner) out to meet his relations on a gloomy country estate before they are married. The creepy clan is lorded over by the bizarre Aunt Kate (Dom DeLuise), who keeps babbling about a local rampaging werewolf. As Larry and Vickie try to spend a quiet weekend in the mansion, they are assaulted with all manners of spooky goings-on -- the kind of routines that were already growing whiskers when Abbott and Costello first dusted them off over fifty years ago. ~ Paul Brenner, Rovi