Alan Gifford Movies

Set in the pre-Civil War South, this western adventure follows three escaped Virginia slaves on their journey into the West. The already arduous journey is made worse by the dogged bounty hunter who pursues them. Along the way the fugitive trio add others to their group, doing good wherever they go. A sequel The Soul of Nigger Charley followed this blaxploitation western. ~ Sandra Brennan, Rovi

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi

Richard Attenborough, David Hemmings and Alexandra Stewart play three con artists planning a big-time scam. The object is to sell ammunition to a group of African militants -- or at least to pretend to. The trick is to keep at least one step ahead of the militants, lest the tricksters end up full of holes. A serviceable Len Deighton espionage novel was the source for Only When I Larf, which hooked up the material with "mod" gags about '60s fads and foibles. In the same spirit, the usually straightforward director Basil Dearden makes like Richard Lester, with a multitude of jump cuts, zoom-ins and hand-held shots. ~ Hal Erickson, Rovi

Dr. Love (David Niven) is a suave British secret agent sent to Lebanon to investigate the murder of his colleague Parkington (Nigel Davenport) by an enemy agent in this spy spoof. With the help of the beautiful Vikki (Francoise Dorlac), Love uncovers a plot by Russian agents to kill a Middle Eastern Prince who favors the British. The story was taken from the novel Passport To Oblivion by James Leasor. Niven carries the feature with his typical aplomb. ~ Dan Pavlides, Rovi

In one of the best of the long-running Carry On series, Western clichés are run through the Carry-On wringer. The film takes place in wild and woolly Stodge City, a town held in thrall to the nasty dealings of The Rumpo Kid (Sidney James). The Rumpo Kid holds the town in such abject terror that Judge Burke (Kenneth Williams) compels Sheriff Albert Earp (Jon Pertwee) to run The Rumpo Kid out of town. But when Earp confronts The Rumpo Kid, Earp is shot dead for his troubles. Burke puts out a call for a new lawman for the town and, due to a series of misunderstandings, an English custodian, Marshall P. Knutt (Jim Dale) is hired for the job. Arriving at the same time as Knutt is Annie Oakley (Angela Douglas), who has come to town to get vengeance for her father's murder (her father being the deceased sheriff). Events simmer and boil to a final confrontation between The Rumpo Kid and Nutt, who utilizes his custodial skills to defeat The Rumpo Kid and his evil gang. ~ Paul Brenner, Rovi

Gene Pitney's hit title song for this courtroom drama became a bigger and more enduring success than the film in which it was repeatedly sung. The story takes place in postwar Germany in the village of Neustadt. A group of four drunken American soldiers come upon a teenage girl, Karin Steinhof (Christine Kaufmann), in the woods outside town. She had been trying to seduce her boyfriend, Frank Borgmann (Gerhart Lippert), but the inexperienced young man got flustered and left. The soldiers take advantage of the situation and are charged with rape. Karin's father Herr Steinhof (Hans Nielsen) wants the death penalty. Major Steve Garrett (Kirk Douglas), the attorney whom the military brings in to handle the defense, bullies Karin's parents, warning that he will put her on the stand. He also talks to townspeople and finds out that Karin has a reputation for standing undressed in front of windows as people pass by. Garrett builds a strong case, leading to a dramatic trial and a shocking conclusion. ~ Michael Betzold, Rovi

In this psychological thriller an Austrian nobleman tries to stay sane in the face of Nazi torture during World War II. The story is told in flashback after the protagonist is seen at a chess tournament with a champion. He is thrown into jail after the Nazis overran Austria. When he is not being mentally tortured into revealing important secrets, the man is in solitary confinement. To stay sane, he conceals a chess book in his cell. The intricacies of the game help him concentrate. Unfortunately his valiant attempts fail and he breaks down. ~ Sandra Brennan, Rovi

This is one of the rare comedies by director Gerald Thomas that does not have the words "Carry On...." in the title, and that is the first indication that the wacky, hare-brained, ribald core of the "Carry On" series is missing here. The premise is that a young couple, David and Catherine Robinson (Leslie Phillips and Geraldine McEwan), have to turn their large country house into a money-making proposition. Their solution is to invite the kids of the rich and famous, since that is where the money lies, to spend a summer enjoying all the loving care and attention they miss at home. After the youngsters arrive, David quickly realizes what the offensive little punks need is some real discipline, and so the summer begins. ~ Eleanor Mannikka, Rovi

When a movie star dies mysteriously, insurance investigator Jeff Keenan (Rod Cameron) is put on the case. It seems that the dead man was attending a private psychiatric clinic on the Riviera. Keenan learns that one of the staff doctors has been tinkering with an experimental "dream machine," designed to soothe his more disturbed patients. But Paul Zakon (Peter Illing), the ex-Nazi owner of the clinic, has been using the machine for brainwashing purposes. There's really no "monster" to speak of, but there's plenty of Frankenstein-style electric bolts and sparks in the climactic melee. Charles Eric Mayne adapted the gimmicky screenplay from his own novel. ~ Hal Erickson, Rovi

Two years before Hitchcock terrified audiences with the shower scene from Psycho, audiences recoiled at the shower scene in this dark and decidedly twisted psychological thriller. The tale of terror centers on an exotic dancer (Anita Ekberg) who is terrorized by a knife-wielding homicidal maniac. She is cut up but not seriously hurt as her step brother bursts into the bathroom and shoots the killer before he finishes. Unfortunately, the slasher escapes. Time passes, and while the physical wounds, heal, the psychic wounds continue to haunt the poor dancer, who must go to a psychiatrist for help. When a reporter hears about the case, he suspects the work of a serial killer and starts investigating. He finds that each of the killer's victims are given a horrifying sculpture of a woman screaming. Meanwhile, the girl's doctor finds himself falling in love with her. ~ Sandra Brennan, Rovi

Time Lock is a textbook example of how a talented director and cast can do a lot with a little. Lensed in Canada, the story gets under way when a child is accidentally locked in a bank vault. The vault's time-lock isn't set to open for another 63 hours -- by which time, of course, the child will have suffocated. One expert after another tries to open the lock, to no avail. Finally, an appeal for help over the local radio station yields salvation. Though the film works best as an ensemble effort, Robert Beatty emerges as the star of the proceedings in the role of a no-nonsense vault expert. ~ Hal Erickson, Rovi

American leading man Lee Patterson (later one of the many stars of One Life to Live) is top-billed in this compact British crime caper. Three thieves from various walks of life combine their forces for a complex heist. The plan is to steal a large cache of loot from a carefully guarded postal delivery; to accomplish this, disguises and "inside men" are vital ingredients. Inevitably the thieves fall out and the best-laid schemes go awry. Mailbag Robbery is ideal viewing for wide-eyed Late Late Show fanatics. ~ Hal Erickson, Rovi