William Hootkins Movies

In the mid-'90s, an Englishman by the name of Alan Conway (John Malkovich) conned many people into believing that he was the reclusive American director Stanley Kubrick, despite the fact that Conway was openly gay, bore no physical resemblance to Kubrick, and knew little about the director's work. Conway's story has been loosely adapted into the comedic feature Colour Me Kubrick. Anthony Frewin, who worked as Kubrick's personal assistance for many years, wrote the script, and Brian Cook, who served as Kubrick's assistant director on several films, including Barry Lyndon and Eyes Wide Shut, marks his directorial debut with the film. Colour Me Kubrick follows Conway on a number of adventures, wherein he cadges drinks, cash, sex, and more from unsuspecting victims, ranging from a heavy metal band to a wine bar owner (Richard E. Grant) to a British lounge singer (British television comic Jim Davidson making his feature-film debut), who are awestruck by his purported fame and fortune, and willing to overlook Conway's genuinely bizarre behavior in the hopes of impressing the great director. Conway's act reached its pinnacle when he temporarily pulled the wool over the eyes of then-New York Times theater critic Frank Rich (William Hootkins). Colour Me Kubrick features cameos by Ken Russell, Honor Blackman, Peter Sallis, and Marc Warren. The French production had its international premiere at the 2006 Tribeca Film Festival. ~ Josh Ralske, 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

Lew Grade is the executive producer of this British-German co-production, a romantic drama that gets underway in Las Vegas with several casino cameos (Robert Wagner, Roddy McDowall, Jill St. John, William Hootkins). Lymphoma leaves Vegas croupier Maggie (Maria Pitillo) only a few weeks to live, so she sets out to visit a weeping Madonna statue in Italy where she meets American pianist Mike (William McNamara) while hitchhiking to Trevino. Monsignore Calogero (Tom Conti) orders the church closed, and the statue is found to be a fake. As Mike and Maggie hope for a miracle, Mike departs to participate in a Naples piano competition. Watch for composer Lalo Schifrin conducting his own two piano concertos in the final scenes. ~ Bhob Stewart, Rovi

Reviewers agreed that this cinematic disaster deserves an "A" for effort, at the very least, and also deserves its place on the shelves beside such astonishingly awful films as Plan 9 From Outer Space. In the story, the aged millionaire Barry Reilly (Mickey Rooney) lives on a huge estate in California. He observes the pleasant life led by his granddaughter's infant baby, and decides that this is the life for him. He gets his lawyer to craft a legal arrangement which will require his family to treat him in an exactly similar manner. That's just fine for a while, but after he gets hit in the head by some burglars, he finds he is unable to speak, and can only gurgle and coo. ~ Clarke Fountain, 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

Zina (Domiziana Giordano) is the daughter of Russian revolutionary Leon Trotsky. When her father is exiled, Zina heads to Berlin in hopes of leading a normal life. Tormented by nightmares, Zina turns to a psychiatrist (Ian McKellan) for aid. The doctor comes to the conclusion that Zina's nocturnal visions are portents for future horrors--specifically the rise of the Nazis. This thought-provoking British film ends with the symbolic death of the ideals set down by the "visionary" Leon Trotsky. ~ Hal Erickson, Rovi

For those unfamiliar with Taxi, it should be noted herein that the cabbie's favorite hangout is a joint called Mario's. Having undergone an acute attack of "entrepreneur fever," burned-out Reverend Jim (Christopher Lloyd) has convinced himself that he could run Mario's, and to that end he buys the establishment with some of his inheritance money. Alas, though the cabbies can always be found at Mario's, no one else ever comes to the place -- except for that undercover agent from the Liquor Authority. This episode was originally slated to air on April 27, 1983. ~ 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

In this stylish supernatural horror story, Hitch (Robert Burke), a mysterious loner, wanders the deserts of the African nation of Nambia as he searches for the lost and suicidal. Hitch is wanted by the police in connection with the death a woman whose blood was used in a strange magic ceremony. A shaman consulted by the police and a pathologist investigating the killing believe that Hitch is a "Dust Devil," an evil spirit who can shift shape at will, taking the form of a man when it's convenient. Meanwhile, Hitch encounters Wendy (Chelsea Field), a woman who is despondent after the collapse of her marriage. Wendy gives him a ride along a lonely highway, and later that night, as Wendy contemplates suicide, Hitch waits patiently outside her door. The next day, Wendy runs into Hitch again and casually looks through his bag to discover that it's filled with human fingers. Convinced that Hitch is no harmless eccentric, she tries to escape, but she discovers that he's difficult to get away from; meanwhile, Mark (Rufus Swart), Wendy's ex-husband, is searching for her, convinced that she's fallen victim to foul play. Dust Devil has been released in a number of different forms; the original European cut ran 125 minutes, while the American version, which features redubbed voices and a different narration, ran only 87. The "final cut" prepared by director Richard Stanley, meanwhile, is 103 minutes in length. ~ Mark Deming, Rovi

A priest discovers that being the leader of the Catholic Church can be hazardous to your health in this satiric comedy. Cardinal Rocco (Alex Rocco) and Monsignor Vitchie (Paul Bartel) are two high-ranking Vatican officials who have been using the church's business dealings to launder funds for Vittorio Corelli (Herbert Lom), a crime boss involved in illegal arms trading. After the death of the aging and infirm Pope, Rocco and Vitchie plan to nominate a successor who will go along with Corelli's schemes, but quite by accident, small town priest Giuseppe Albinizi (Robbie Coltrane) is named the new Pontiff. Albinizi is a reluctant spiritual leader who prefers cars, women, and rock & roll to church business, but when he discovers the level of Rocco's corruption, he has him removed from the Vatican. Rocco and Vitchie are not taking Albinizi's plans to clean up Vatican finances lying down, and they discover that the new Pope's has a not-so-little secret. Before he joined the priesthood, Albinizi fathered a son out of wedlock with Veronica Dante (Beverly D'Angelo); the boy grew up to be Joe Don Dante (Balthazar Getty), a rock star who's romancing Corelli's daughter. After complaints from Catholic groups in the U.S., the distributors of The Pope Must Die changed the title to The Pope Must Diet. ~ Mark Deming, Rovi

This eccentric, amusingly sick Canadian production involves a group of annoying yuppies who charter a plane for a camping getaway, only to find themselves making an emergency landing on an isolated, forest-covered island. They are taken in by the only inhabitants, the rabidly-religious "Ma & Pa" (Yvonne De Carlo and Rod Steiger), who seem trapped in a Norman Rockwellian time-warp and are invited to stay the night. This proves to be every bit as unpleasant as it seems -- especially after the hapless campers are introduced to the psychotic, middle-aged "children" (Michael J. Pollard and Janet Wright) -- who appear to be pushing 50. Before long, it's crazed crackers 1, campers 0 and counting, as the warped, scripture-spouting yokels take sharp objects in hand... until one of the campers (Sarah Torgov) reveals her own homicidal potential and goes completely berserk. Despite delightfully weird performances from a top-drawer cast, this campy romp is slightly spoiled by a poorly-scripted climax that suggests a sudden loss of creative inspiration. ~ Cavett Binion, Rovi

Psychiatrist Alex (Art Garfunkel) becomes sexually obsessed with Milena (Theresa Russell), a woman whom he meets at a party. The pair become involved in an intense and mutually destructive love affair. The drama unfolds in a series of flashbacks, as Alex tells his story to police Inspector Netusil (Harvey Keitel) who is investigating Milena's apparent suicide attempt. Alex's obsession grows, but Milena stays slightly out of reach. Originally rated X, but somewhat toned down to accommodate an R rating, Bad Timing: A Sensual Obsession is an interesting exploration of the nature of sexual passion and jealousy. ~ Linda Rasmussen, Rovi