Roy Kinnear Movies

Richard Lester returned to his double-barreled successes of the 1970s, The Three Musketeers and The Four Musketeers, with Return of the Musketeers, a film that was inexplicably shelved for several years, making its belated premiere on cable television. Based on Alexandre Dumas's novel Twenty Years Later, the film takes place (appropriately enough) two decades after the death of Milady de Winter. Though Milady may have died, her nefarious schemes have been taken up by her daughter Justine (Kim Cattrall), who maneuvers with the conspiring Cardinal Mazarin (Philippe Noiret) to gain control of the crown through Queen Anne (Geraldine Chaplin). D'Artagnan (Michael York) calls for his old compatriots Porthos (Frank Finlay), Athos (Oliver Reed), and Aramis (Richard Chamberlain) to once again go "one for all and all for one." But complications set in when Athos and Aramis take sides with the crown and Athos' adopted son Raoul (C. Thomas Howell) falls in love in Justine. The film is dedicated to character actor Roy Kinnear who plays Planchet, who died in an equestrian accident during the production. ~ Paul Brenner, All Movie Guide

Originally telecast in December of 1988, A Man for All Seasons was the first made-for-TV film produced on behalf of the TNT Cable Service. Charlton Heston makes his film directorial debut herein, and also plays the central role of Sir Thomas More, 16th century lord chancellor of England. Unswerving in his belief of the Pope's supreme authority, Sir Thomas refuses to support King Henry VIII's plan to divorce his wife Catherine of Aragon to marry the (hopefully) fertile Anne Boleyn. Declaring himself head of the Church of England, the King annuls his marriage and weds Anne. In concert with his administrator Cromwell, Henry further demands that all British subjects take an oath to uphold Henry's action. More cannot bring himself to do this, and as a result is imprisoned in the Tower of London. Tried for high treason, More is found guilty on the basis of the false testimony of sycophantic Sir Richard Rich. Sentenced to death, More continues to denounce Henry's behavior, walking proudly towards the headsman secure in the knowledge that he will die "the king's good servant, but God's first." Adapted from the play by Robert Bolt A Man For All Seasons was previously filmed in 1966, with Paul Scofield repeating his stage role as More. Heston's version restores much of the text that had been removed from the earlier film--as well as the ubiquitous expository character "The Common Man", here played by Roy Kinnear. More's harsh but loving wife Alice is played in the remake by Vanessa Redgrave, who'd appeared unbilled as Anne Boleyn in the 1966 version (Arch-conservative Heston and ultra-liberal Redgrave in the same film? Fear not: each respected the other's acting skills, and they got along famously). Heston had previously directed and starred in a London stage revival of Man for All Seasons; this splendid cable-TV version manages to retain all the virtues of that production while remaining a thoroughly cinematic experience. ~ Hal Erickson, All Movie Guide

Although the title evokes a swashbuckling adventure, Roman Polanski's Pirates tuns out to be a seagoing tale with a bit of a difference. Captain Red (Walter Matthau) runs a hardy pirate ship with the able assistance of Frog, a dashing young French sailor (Cris Campion). One day Capt. Red is captured and taken aboard a Spanish galleon, but thanks to his inventiveness, he raises the crew to mutiny, takes over the ship, and kidnaps the daughter of the governor of Maracaibo (Charlotte Lewis, soon to co-star in The Golden Child opposite Eddie Murphy). The question is, can he keep this pace up? ~ Eleanor Mannikka, All Movie Guide

This biographical film -- a bit long for most viewers, even in its cut version -- is made especially for ballet aficionados. Focusing on the short life of the remarkable Russian ballerina Anna Pavlova (1882?-1931), it features several dance sequences and provides a backdrop of the historical events in the Soviet Union and Europe during her life. Pavlova (Galina Belyayeva, better as a dancer than an actress) was born in Saint Petersburg and her interest in the ballet began early. As a little girl (Lina Boultakova), Pavlova would watch the ballet students in training, and she eventually entered the Imperial Ballet company, quickly rising to the position of prima ballerina. Before long, she perfected a style especially evident in her dancing of Giselle and Swan Lake. In her brief tenure at the Ballets Russes established in Paris in 1909 by the famed Russian expatriate impresario Sergei Diaghilev, Pavlova was inspired by dancers like Vaslav Nijinsky and obtained further training under a master, traveling extensively with the company. But the famous ballerina was not without personal problems, and at one point had to take a two-year advance on her salary in order to pay off her husband's debts so he would not go to jail. There are several intriguing aspects of this biography that would recommend it to general viewers: varied locations from Mexico to Cuba to Europe and the USA, good ballet performances, some noted bit players (Martin Scorcese as Gatti Cassaza) and a critically recognized Michael Powell, the director of Red Shoes in his last professional role, as an editor. ~ Eleanor Mannikka, All Movie Guide

Director Wim Wenders made his American film bow with the ultra-stylish Hammett. Based on the speculative novel by Joe Gores, the story concerns real-life detective novelist Dashiell Hammett (Frederic Forest), who early in his career is involved in a complex mystery that will profoundly influence his later works. While hacking away for pulp magazines, Hammett is asked by Jimmy Ryan (Peter Boyle), his old boss at the Pinkerton agency (and the model for the writer's "Continental Op" character), to help out on a particularly difficult case. Before long, Hammett is prowling the nooks and crannies of San Francisco in search of a missing Chinese prostitute-blackmailer (Lydia Lei). Among the several delectable "inside jokes" in Hammett is the presence of Elisha Cook, who'd appeared in the 1941 film adaptation of Hammett's Maltese Falcon, as Eli the Cab Driver. Cinematographers Philip H. Lathrop and Joseph Biroc work overtime to invest Hammett with the "feel" of a classic 1940s detective yarn. ~ Hal Erickson, All Movie Guide

Hawk the Slayer will appeal most to undiscriminating fans of the sword-and-sorcery genre. The title character, played by John Terry, is on a lifelong quest for "The Power", an enchanted flying sword. Alas, Hawk's evil brother Voltan (Jack Palance) likewise covets The Power. A plethora of violence ensues, culminating in a slow-motion duel to the death between hero and villain. Among Hawk's comrades are a dwarf and an elf, who are "R2D2 and C3PO" in everything except name and appearance. Hardly the best of its kind, Hawk the Slayer is redeemed by the unbridled hamminess of Jack Palance, who seems to be the only one who realizes that the whole affair is to silly to be taken seriously. ~ Hal Erickson, All Movie Guide

Written by Monty Python veterans, More Ripping Yarns includes the skits "The Testing of Eric Olwaite," "Whinfrey's Last Case" and "The Curse of the Claw." ~ John Bush, All Movie Guide

The concept behind the 1977 Hound of the Baskervilles involved having "underground" director Paul Morrissey bring an irreverent slant to the original Sherlock Holmes mystery. The film thus casts Peter Cook and Dudley Moore as Holmes and Watson, with such reliable British performers as Terry-Thomas, Joan Greenwood, Denholm Elliott, Hugh Griffith, Spike Milligan, and Roy Kinnear in cameos. Producer Michael White took on the project; it mirrored his previous experience of combining spoofery and fidelity to source material with Monty Python's Jabberwocky. Examples of the film's zaniness include the casting of a lovable Irish wolfhound as the "deadly" Baskerville mastiff and having Holmes and Watson speak in thick provincial accents. For its American release, Hound of the Baskervilles was whittled down to 78 minutes, with several of its scenes out of sequence. ~ Hal Erickson, All Movie Guide

It's love at first spark plug for Herbie, the spunky Disney Volkswagen, in Herbie Goes To Monte Carlo. Herbie reunites with Jim Douglas (Dean Jones), his driver from the original The Love Bug, as they participate in the annual Monte Carlo road rally. Herbie holds his own in the qualifying races, but he blows a gasket over a lovely powder-blue Lancia named Giselle. Jim also catches the eye of the attractive driver of Giselle, the fresh-faced Diane Darcy (Julie Sommars). With the love bug biting again, the romantic infatuations of man and metal end up interfering with the auto race. ~ Paul Brenner, All Movie Guide

Comic actor Gene Wilder made his debut as a writer and director in this period comedy in which he plays Sigerson Holmes, the older bother of famous detective Sherlock Holmes. For years, Sigerson has been living in his little brother's shadow, and he is convinced that he must constantly prove his superiority to his brother in all things at all times. Of course, he often fails, but one can't argue with his determination. In this story, Sherlock (Douglas Wilmer) and his faithful assistant, Watson (Thorley Walters), are called away from England on an assignment, and Sherlock asks Sigerson if he wouldn't mind looking into a case for him. With typically misguided enthusiasm, Sigerson is hot on the trail of a cache of missing government documents, whose theft may be the dirty work of the wicked Moriarty (Leo McKern). Sigerson is assisted in his investigation by Olville Sacker (Marty Feldman), a bumbling Scotland Yard detective who claims to have photographic hearing, and the mysterious and seductive Jenny Hill (Madeline Kahn). Gene Wilder rose to fame in the offbeat comedies of director Mel Brooks, so it was fitting that, for his first film as a director, Wilder cast Brooks in a cameo role (he's heard but not seen after discovering that the door he chose had the tiger, not the lady). ~ Mark Deming, All Movie Guide

Novelist George MacDonald Fraser penned the script for this swashbuckling, picaresque adventure tale. The story is based on one of the books in his "Harry Flashman" series, loose sequels to "Tom Brown's Schooldays" that followed that story's central bully character through his checkered post-graduate military career. Malcolm McDowell plays Captain Harry Flashman, a cowardly, lascivious poseur who desperately seeks entry into high European society. Recognizing an opportunity to advance their own sinister political agendas, scheming Otto Von Bismarck (Oliver Reed) and Rudi Von Sternberg (Alan Bates) convince Flashman to masquerade as a Prussian noble and marry a beautiful duchess (Britt Ekland), a flawed plan to which Flashman agrees. Inevitably, the transparent ruse is discovered, and Flashman is forced to try to escape across 19th century Europe, narrowly missing one disaster after another and experiencing first-hand some of history's most momentous events. Director Richard Lester and Fraser used similar baroque settings, tongue-in-cheek characterizations, elaborate stunts and breakneck pacing for The Three Musketeers (1973) and its sequel, The Four Musketeers (1974) with similar efficacy. Fraser would try again with analogous material three years later with Crossed Swords (1978), a lavish version of The Prince and the Pauper by Mark Twain. ~ Karl Williams, All Movie Guide