George Malpas Movies

Director Bob Rafelson fulfilled a lifelong dream when he finally received backing to complete Mountains of the Moon. The film recreates the exploratory adventures of 19th century visionaries Sir Richard Burton (Patrick Bergin) and John Henning Speke (Iain Glen). The heart of the film is the effort by Burton and Speke to discover the true source of the Nile river. This occurs well into the film, after several torturous scenes involving the injuries sustained by the protagonists during other expeditions and their growing friendship (which, the film intimates, goes far beyond friendship). Rafaelson's fascination with this story, and his insistence upon painstaking historical accuracy, unfortunately compromises his ability to make an interesting film. There are so many starts and stops during the first half that we sincerely hope Burton and Speke will chuck it all and set up a pub in Bristol or something. What saves Mountains of the Moon is the rapport between its stars and the brilliant, epic-like cinematography of Roger Deakins. ~ Hal Erickson, Rovi

The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, Rovi

Another Man Who Loved Women with a slightly different plot, this routine story opens with the funeral of a local projectionist and gardener, Donald Lovelace (Barry Jackson). His widow and daughter are surprised at the number of women who turn out to mourn Donald's passing. Soon the truth about his peccadillos with a string of women ranging from the usherette at the movie theater to an aspiring singer are told in flashbacks, revealing a life that his aloof wife and resentful daughter knew nothing about. ~ Eleanor Mannikka, Rovi

The best-known of the 12 filmed adaptations of Tolstoy's Anna Karenina include the 1936 Garbo vehicle and the 1947 Vivien Leigh vehicle. This made-for-TV version is every bit as elaborate and tasteful as those earlier efforts. Jacqueline Bisset makes her TV-movie debut as Anna, the wife of 19th century Russian nobleman Karenin (Paul Scofield). When she falls in love with the dashing Count Vronsky (Christopher Reeve), Anna runs afoul of the rigid social structure of the era-and of a husband whose anguish translates into revenge. The teleplay was by James Goldman, author of The Lion in Winter and screenwriter of another Russian-based period piece, Nicholas and Alexandria. Anna Karenina premiered March 26, 1985. ~ Hal Erickson, Rovi