Simon Jones Movies

A policeman plays Good Samaritan to a visitor from Ireland, only to discover that he has a potentially deadly secret. Belfast-born Frankie McGuire (Brad Pitt) saw his father gunned down by enemy soldiers at the age of eight, and when he grew up he joined the Irish Republican Army, determined that one day his father's death would be avenged. An especially ruthless "volunteer," Frankie is responsible for the death of 13 British soldiers and 11 policemen. After a particularly bloody battle, Frankie sails to the United States in a ragged tugboat he has restored; with a huge bundle of cash, Frankie intends to buy a stock of Stinger missiles from an underground arms dealer in America, Billy Burke (Treat Williams). Upon arrival in New York, Frankie is met by a judge who is sympathetic to the IRA's cause and who arranges a place for him to stay. Using the name Rory Devaney, Frankie moves into the home of Tom O'Meara (Harrison Ford), a scrupulously honest cop. Tom is already in the midst of a personal crisis; his friend and partner Edwin Diaz (Ruben Blades) recently shot a man that he knew was unarmed in the line of duty, and while Edwin wants Tom to help him cover up the matter, Tom's conscience will not allow it. When Tom begins to realize that "Rory" is not simply a man running from the violence of his homeland, he's torn between his sympathy for Frankie's tragic childhood and his desire to see justice served and prevent needless death in Ireland. ~ Mark Deming, Rovi

The 1947 holiday classic Miracle on 34th Street is transplanted to the 1990s with few changes in this family-oriented remake. The screenplay by the prolific John Hughes sticks close to the original outline, centering on Macy's executive Dorey Walker (Elizabeth Perkins) and her young daughter Susan (Mara Wilson), neither of whom much believes in the spirit of Christmas. Dorey is in charge of hiring Macy's Santas, including an old man named Kriss Kringle (Richard Attenborough). He does a remarkably convincing job, and he soon reveals that he actually believes himself to be Santa Claus. The authorities threaten to place the old man in an insane asylum, but a young lawyer comes to his defense. Meanwhile, Dorey and Susan find their own defenses melting and become reacquainted with the power of faith. Hughes and director Les Mayfield add a few modern touches, making Susan slightly more cynical and adding the requisite soulless corporate villains. Viewers familiar with the original may still prefer Edmund Gwenn's original Kris Kringle and consider the remake unnecessary, although the newer version reflects enough of the earlier film's spirit to prove entertaining to modern family audiences. ~ Judd Blaise, All Movie Guide

Monty Python's Michael Palin plays an Oxford don with acute female trouble in American Friends. While on holiday in the Swiss Alps, Palin crosses the path of American tourist Connie Booth and her adopted daughter Trini Alvarado. Both women express an inordinate desire for the bookish Palin, leading to profound changes in the lives of all concerned. Michael Palin insists that the plot of American Friends was drawn from an actual incident in the life of his own great-grandfather. The film unfolds like a good novel; slow on the uptake, but fascinating once it gets going. ~ Hal Erickson, Rovi

Go behind-the-scenes at the BBC and discover how Douglas Adam's wild novels have been brought to television. Includes cut footage and archival film. ~ Rovi

Robin Williams' comic shtick sabotages any attempt at comic development in Harold Ramis' patchy comedy farce Club Paradise. Williams plays Jack Moniker, a Chicago fireman injured in the line of duty, who uses his disability money to open up a run-down Caribbean resort. Jack eagerly awaits the planeload of tourists who will be his first patrons. This group of low-rent jackanapes include Barry Nye (Rick Moranis) and Barry Steinberg (Eugene Levy), a couple of horny geek bachelors; Phillipa Lloyd (Twiggy) and Terry Hamlin (Joanna Cassidy) as a couple of gals on the make; and Linda White (Andrea Martin), as a bossy American tourist. While the tourists shindig around Jack's ramshackle resort, a revolution is brewing on the island headed by revolutionary Ernest Reed (Jimmy Cliff). Trying to prevent the revolutionary upheaval is the dissipated British governor-general of the island, Governor Anthony Cloyden Hayes (Peter O'Toole), and the pompous Prime Minister Solomon Gundy (Adolph Caesar). ~ Paul Brenner, Rovi

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, Rovi

The Meaning of Life is without a doubt the most tasteless of the Monty Python feature films; it also happens to be one of the funniest. Life's questions are "answered" in a series of outrageous vignettes, beginning with a pre-credits sequence at a staid London insurance company which transforms before our eyes into a pirate ship. One of our favorite bits involve the National Health doctors who try to claim a healthy liver from a still-living donor, pointing out that there's nothing in his contract preventing this. And of course, there's the scene with the world's most voracious glutton, who brings the art of vomiting to new heights before his spectacular demise. Be warned: though hilarious, this may be the grossest bit of comedy filmmaking ever conceived (there aren't enough words in the world to describe it in detail!). Loyal Pythonites Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin star in The Meaning of Life and share writing responsibilities, while Jones is in the director's chair this time out. ~ Hal Erickson, Rovi

Comparatively unknown, the British And Nothing But the Truth is a blistering indictment of government-sanctioned corruption, as well as the "facts of life" of the television industry. Filmmaker Glenda Jackson and reporter Jon Finch head to South Wales, where a farm family has taken on the local village government. Accusations have been raised that a powerful corporation has (within legal limits) bribed the village to permit encroachment upon local farm land. In pursuit of the truth, Jackson and Finch are subjected to character assassination and overt threats. Only gradually do they discover that their own bosses are also on the take. And Nothing But the Truth was originally titled Giro City. ~ Hal Erickson, Rovi

Trevor Howard is virtually the whole show in Sir Henry at Rawlinson End. He plays an eccentric-to-the-point-of-insanity nobleman whose love affair with the bottle is a long standing source of family embarrassment. Still, when the family mansion is plagued by an unfriendly ghost, Howard finds himself the only one willing or able to exorcise the spirit. Sir Henry at Rawlinson End was based on a radio play by Vivien Stanshall. As such, it is more satisfying for the ear than for the eye. ~ Hal Erickson, Rovi