William Hootkins Movies

Katsuhiro Otomo, director of the groundbreaking anime feature Akira (1988), returns with this visually striking fusion of the past and the future. It's the Industrial Age in England, reimagined, and various and sundry inventors and scientists are arriving in Britain to hawk their products while capitalism rears its ugly head. A gadget-happy British lad named Ray (voice of Anna Paquin) receives a mysterious package from his grandfather Lloyd Steam (Patrick Stewart) -- a tiny ball that turns out to be an engine toting immense power. As it happens, several of these little balls run the O'Hara pavilion, a massive, mobile fortress. Ray later discovers that his dad and grandfather are located inside of the pavilion; his dad, Eddie, has become mesmerized by O'Hara and subject to their whims, while Lloyd suspects that O'Hara may want to use the balls for nefarious purposes, and tries to put a definitive end to those plans. Indeed, the O'Hara people soon take over the Great Exhibition and turn it into a veritable circus for weapons dealers. Meanwhile, Ray starts to develop feelings for a young girl named Scarlett O'Hara. ~ Mark Deming, Rovi

This lavish, cable-TV remake of Orson Welles' The Magnficent Ambersons endeavored to prove Welles right by adhering to his original screenplay, restoring several scenes which provided additional substance and significance to the story and deepened the characterizations. Set in Indianapolis at the beginning of the 20th century, the story parallels the "destruction" of a gentle, elegant way of life thanks to the introduction of the automobile with the disintegration of the aristocratic Amberson family, the wealthiest clan in town. Self-made millionaire auto manufacturer Eugene Morgan (Bruce Greenwood) returns to Indianapolis after a lengthy absence, determined to wed the recently widowed Isabel Amberson Minafer (Madeline Stowe), who still regrets having spurned him years earlier in favor of a "safer" marriage. Most of those concerned want to see the decent, self-effacing Eugene find happiness with the lovely Isabel, but her spoiled, snobbish son George (Jonathan Rhys-Davies), resenting the threat that Eugene and his automobiles pose to his pampered, superficial lifestyle, violently opposes his mother's romance. George's obnoxiously obstreperous stance seriously strains his own relationship with Eugene's sweet, sensible daughter Lucy (Gretchen Mol). Watching from the sidelines are George's neurotic maiden aunt Fanny Minafer (Jennifer Tilly), Isabel's likably bombastic senator brother George Amberson (William Hootkins), and frail family patriarch Major Amberson (James Cromwell), who, like virtually everyone in the story except Eugene, cannot accept -- or see -- that the times are indeed a-changing. ~ Hal Erickson, Rovi

Having been burned by a traumatic childhood experience, greedy toy tycoon Tyler Madison (Harry Hamlin) is contemptuous of his fellow man, ruthlessly nasty in his business dealings, and callously neglectful of his wife Elyse (Megan Gallegher) and son Danny (Curtis Blanck). Just before Christmas, Madison piles into his private plane and heads for the North Pole, determined to put his chief competitor, Santa Claus (William Hookins), out of business. But upon his arrival, he realizes that he and S.C. have a lot in common--and thus the inevitable epiphany occurs, culminating in the settling of an "Elf strike" and a closer bond between Tyler and his loved ones. Like Father, Like Santa was telecast by cable's Fox Family Channel on December 1, 1998. ~ Hal Erickson, Rovi

The title of this British-French production refers to the dream of the film's hero -- aka The Young Man (Glenn Fitzgerald) -- to hunt an African rhino. After a failed suicide, The Young Man treks across Europe in an effort to track the girlfriend who walked out on him. In Paris, he attempts to deliver a traveling child, but the boy's dad never arrives. Instead, the situation leads him to The Teen (Karine Adrover). In a New Age nod, The Young Man and The Teen make love in a chair with giant angel wings, but before their relationship can ripen, he gets a clue regarding his former girlfriend's whereabouts and takes off for Belgrade and more merry misadventures. Shown at the 1997 Sundance Film Festival. ~ Bhob Stewart, Rovi

Tommy Fawkes (Oliver Platt) is a struggling stand-up comedian who has tried for years to get out from under the shadow of his father, George Fawkes (Jerry Lewis), himself a famous humorist. Tommy finally scores a showcase spot at a major resort in Las Vegas, but when opening night rolls around, Tommy's act is an unqualified disaster, with the failure made even more painful by his father's presence in the audience. In search of a fresh start, Tommy heads to Blackpool, England, where he was born and raised, to look for a new act. Hoping to buy material from local performers, Tommy auditions a large number of acts, most of whom are utterly hopeless, until he sees a hilarious vaudeville team, the Parker Brothers. Their act seems more than a bit familiar, however, and Tommy soon realizes that they're doing his father's old material. But they have every right to be doing George's schtick -- it seems George stole his act from the Parkers ages ago. What's more, the younger and more eccentric of the Parker Boys, Jack (Lee Evans), is actually Tommy's half brother, the product of a fling with a Blackpool showgirl years ago. Veering between comedy and drama, Funny Bones has more than its share of effective moments on either side of the fence, and features fine supporting performances from Oliver Reed, Leslie Caron and Harold Nicholas. ~ Mark Deming, Rovi

This futuristic sci-fi tale copies Alien and Robocop and stars Brad Dourif as Jack Dante, a nutty, long-haired genius inventor who hides out in a basement where he watches cartoons and collects sex magazines. He has also developed a killer robot. The greedy head of a corrupt corporation and the dope-smoking survivor of a terrorist group find themselves at the mercy of Dante and his robot and watch as he turns others into cyborgs and stages battles to the death between them. ~ Brian Gusse, Rovi

Ian McEwan's disturbing novel is given a chilly shimmer in this film adaptation by Andrew Birkin. The film takes place in a concrete slab of a house situated on the outskirts of an English town. The father (Hanns Zischer) is a consumptive creep, while the mother (Sinead Cusack) is a sweet and understanding matriarch. When the father dies of a heart attack after his garden is paved over, it is too much for the mother to bear, and after a few weeks she wastes away and also dies. This leaves the children to fend for themselves. The eldest sister and brother, Julie (Charlotte Gainsbourg) and Jack (Andrew Robertson), have to care for the younger children, Sue (Alice Coultard) and Tom (Ned Birkin). Without parental supervision, the four children give themselves up to their secret longings. Jack hides in corners to masturbate, but Julie uses her sexual attraction to lure Jack into an incestuous relationship. Even the younger children have their problems: Sue is mostly mute and spends all her time obsessively writing in her journal, while Tom feels that deep inside himself he is a girl trapped in a boy's body. The children hide the mother's remains in the basement and live off her bank account. The neighbors don't suspect a thing --that is until sleazy Derek (Jochen Horst) begins to come around in his red convertible, trying to get a date with Julie. ~ Paul Brenner, Rovi

This animated fantasy is based on a famed fairy tale by late-19th century writer George MacDonald. It is the tale of a brave princess who teams up with the son of a miner to go underground and stop the mischievous goblins from revolting. The film spent many years in production, which explains the vocal presence of Roy Kinnear (who died in September 1988). ~ Sandra Brennan, Rovi

The owner of a British nightclub attempts to do the impossible by coaxing a legendary Irish tenor out of retirement for a once-in-a-lifetime show in this engagingly quirky comedy. The owner, Mickey O'Neill, is particularly desperate to land a performance by the great Josef Locke, as his already questionable reputation was ruined when he booked an impostor claiming to be Locke. Now only providing a show by the real thing can make up for it. Trouble is, Locke fled England several decades before to avoid charges of tax evasion, and would face immediate arrest upon his return. Naturally, the comedy emerges from O'Neill's desperate attempts to convince Locke to participate in the scheme. Much of the film's charm comes from the presentation of eccentric but believable characters, particularly Locke himself -- a real historical figure given warm life by Ned Beatty, who was nominated for a Best Supporting Actor Golden Globe for his performance. The film as a whole manages a similar balancing act between realism and comic fantasy, grounding even the less believable aspect of the narrative in strongly observed local color. ~ Judd Blaise, Rovi

Music video director Richard Stanley made his feature debut with this apocalyptic, post-industrial nightmare set in the distant future. Dylan McDermott stars as Moses "Hard Mo"' Baxter, a washed-up ex-soldier who spends most of his time in "The Zone" -- a scorched, ochre-colored desert littered with the radioactive debris of an unspecified war (or wars). Mo's recent Zone foray with war-buddy Shades (Jon Lynch) turns up an interesting find -- a pile of droid parts he purchases from a spooky "Zone Tripper" (Carl McCoy, frontman for goth-rock's Fields of the Nephilim), which he carts home to his reclusive artist girlfriend Jill (Stacy Travis) to serve as raw material for her latest work. Unbeknownst to them, the dismantled robot is the prototype of a controversial new battle-droid dubbed the Mark 13, which is designed to reassemble itself from available materials if damaged in combat. In short order, the Mark 13 proceeds to do just that, tapping into the power grid in Jill's fortress-like apartment and targeting her for death. ~ Cavett Binion, Rovi

Master cinematographer Caleb Deschanel is, not unexpectedly, stronger on visuals than substance in his direction of Crusoe (though the camerawork is officially credited to Tom Pinter). The protagonist, played by Aidan Quinn, is a shipwreck victim, just as novelist Daniel Defoe proscribed over two hundred years ago. But this Robinson Crusoe is a child of the late 19th century; moreover, he is no ordinary sailor but an insensitive slave trader. The "Friday" character is divided up amongst several black natives of the island where Crusoe is stranded. Ultimately, Crusoe profits by their example, rather than the other way around. Director Deschanel busies himself with gorgeous scenery (mostly lensed in the Seychelles) and languid sunsets, permitting screenwriters Christopher Logue and Walson Green to pursue the politically correct message of Crusoe without interference. ~ Hal Erickson, Rovi

In this unique interpretation of the great detective, the body of Sherlock Holmes has been in suspended animation for over 85 years. It is brought back by one of Watson's descendants and no sooner does Holmes come to than he is out solving a mystery in Boston. ~ Sandra Brennan, Rovi