Richard Morant Movies

Writer-director Julia Loktev's (Moment of Impact) harrowing, claustrophobic thriller Day Night Day Night plunges the audience into the world of a suicide bomber just prior to her final, fatal act. As the film opens, a young woman (played by Luisa Williams) prays to an unknown, unspecified deity, then tucks away into a fleabag New Jersey motel room, when several hooded men arrive, arm her with explosives, and give her instructions to carry out. She then takes off alone, headed straight for Times Square, and making her way through clamoring throngs of real people -- any of whom could instantly become her casualties. Loktev strips away much of the external exposition, never revealing the central character's name, ethnicity, religious affiliation, or political background. The director thus forces the audience to focus, exclusively and unrelentingly, on the nature of the character's actions, and underscores the idea that terrorist motivations are, on some level, completely inconceivable to an outsider. Ironically, instead of turning the central character into a cipher and thus distancing her from the viewer, the film's stripped exposition terrifyingly draws the audience closer to the character. Josh Phillip Weinstein and Gareth Saxe co-star. ~ Nathan Southern, Rovi

TheTV movie Jack the Ripper endeavors to shed new light on one of the most notorious unsolved cases in history. The Ripper, of course, was the London serial killer who, in 1888, killed and disemboweled five prostitutes. Michael Caine stars not as the Ripper but as a Scotland-Yard inspector who is assigned to the case. The trail of evidence leads Caine to some astonishing suspects--including at least one member of the Royal Family. As the public clamors for an arrest in the case of the unsolved evisceration murders of five East End prostitutes, Abberline narrows down his list of suspects: the four most likely to have committed the murders, according to the inspector, are American-actor Richard Mansfield (Armand Assante), Queen Victoria's personal psychic (Ken Bones), a certain Dr. Acland (Richard Morant) and socialist-gadfly Lusk (Michael Gothard). The British government is also pressuring Abberline to produce the killer. Unfortunately, if Abberline were to publicly release all the clues at his disposal, the revelation would probably rock the Empire to its foundations. ~ Hal Erickson, Rovi

This television mini-series sequel to A Woman of Substance finds aging businesswoman Emma Harte (Deborah Kerr) preparing to hand over her empire to granddaughter Paula Fairley (Jenny Seagrave), much to the dismay of the rest of the family. ~ Jason Ankeny, Rovi

Adapted from a novel by Nigel Slater, the British miniseries The Mad Death managed to induce quite a few nightmares when it originally aired in 1983. The story was set in motion when a rabid cat was smuggled into England, sparking an appalling epidemic which spread to animals and humans alike. The scenes in which pet owners died frothing at the mouth were matched in horror only by the notorious sequences wherein a pack of dogs was slaughtered to prevent further spreading of the disease. Initially broadcast in three 50-minute episodes by the BBC's Scotland service, The Mad Death was later released to video in a truncated feature-film version. ~ Hal Erickson, Rovi

Bassanio (John Nettles), a young man of Venice, falls hopelessly in love with fair Portia (Gemma Jones), a wealthy heiress. But his pocket lacks the jingle to woo her. So Bassanio obtains a loan from the Jewish moneylender Shylock (Warren Mitchell), and his friend Antonio(John Franklyn-Robbins) agrees to repay it in three months. However, if Antonio fails to meet the deadline, Shylock says, Antonio must forfeit a pound of his flesh -- certain death -- as payment. In his heart, Shylock hopes Antonio will default so that he can carve up one of the Christians who mock and humiliate him simply because he is Jewish. Meanwhile, Portia entertains distinguished suitors from around the world. Although she loves Bassanio, her late father made her promise to marry only the suitor who passes a strange test: He must choose from among three caskets -- one gold, one silver, and one lead. If the chosen casket contains a picture of Portia, the suitor wins her hand in marriage. After princes from Morocco and Arragon select the wrong caskets, Bassanio chooses the right one. In the meantime, Shylock's daughter Jessica (Leslee Udwin) elopes with a Christian, Bassanio's friend Lorenzo (Richard Morant), and helps herself to her father's jewels and gold before leaving. When Antonio suffers a financial reversal and fails to repay the loan, Shylock demands the pound of flesh. A trial before the Duke of Venice ensues, in which Portia, disguised as a male advocate, addresses the court, telling Shylock he is entitled to his pound of flesh according to the loan agreement. Shylock, praising her for her ruling, prepares to cut into Antonio's chest. But Portia warns him that he must take only flesh, but no blood, for the contract says nothing of blood. Shylock drops his knife, realizing he has been defeated. As punishment for conspiring to kill Antonio, Shylock must forfeit property and become a Christian. As he leaves the court, a broken man, the other principals celebrate and live happily ever after. ~ Mike Cummings, Rovi

Director Ken Russell made a number of biographical films of composers' lives including The Music Lovers, (about Tchaikovsky) and Lisztomania. Russell embellished the other films with certain characteristic flourishes, which include a focus on the composers' sexual obsessions, poetically telling anachronisms, and scenes which show Richard Wagner in a bad light. The story of Mahler is recounted in a much less complex and flamboyant manner and is a relatively reverent study of the life and work of Austrian composer Gustav Mahler, here played by Robert Powell. The film tackles the touchy dilemma of Mahler's Jewishness in the anti-Semitic atmosphere of 19th-century Vienna. He converts to Christianity, which has no effect on his brilliant musical output but which eats away at his physical and mental well-being. Gustav Mahler (1860-1911) was a conductor and composer of the late Romantic era and specialized in huge symphonic works. Though his works were performed widely during his lifetime, they were less and less-often played until Leonard Bernstein's active campaign on their behalf brought him renewed recognition as a composer of the first rank, every bit the peer of Brahms or Stravinsky. ~ Clarke Fountain, Rovi