Richard O'Callaghan Movies

Windsor is a peaceful town on the Thames where hardly a leaf falls to disturb the silence. And then England's most notorious mischief maker, Sir John Falstaff (Richard Griffiths), arrives from London with his hooligans -- Bardolph (Gordon Gostelow), Nym (Michael Robbins), and Pistol (Nigel Terry) -- to steal and make merry. After breaking into a lodge and killing a deer on private land, they arouse the wrath of the locals. But quick tongues and pleadings of innocence exonerate them and even earn Falstaff a meal at the home of George Page (Bryan Marshall), a Windsor gentleman. There, Falstaff converses with Mrs. Page (Prunella Scales) and her neighbor, Mrs. Ford (Judy Davis), both of whom rule the purse strings of their households. Falstaff then decides to woo both women and charm them free of their money. But after he writes them a love letter -- the same letter word-for-word except for the name of the addressee -- the two "merry wives" compare letters and decide to give Sir John his comeuppance. Meanwhile, Mr. Ford (Ben Kingsley) gets wind of Falstaff's designs on his wife and, riven with jealousy, plots to surprise Falstaff when he comes calling. Scenes ensue in which Mr. Ford bursts through his front door in an attempt to discover Falstaff. The tee-heeing wives couldn't be happier, for these occasions give them a chance to humiliate Falstaff -- once by having him hide in a laundry basket which is dumped in the muddy Thames and another time by dressing as "the fat woman of Brentford." A subplot follows three men as they woo Mrs. Page's lovely daughter, Anne (Miranda Foster). In the end, Falstaff acknowledges his bad behavior, Anne Page gets her man, and good feelings abound. ~ Mike Cummings, Rovi

Unique in the annals of animated films, Watership Down is a serious, even grim tale that many will find relentless and depressing and others will find poetic and moving. It doesn't pull any punches. Death -- violent, disturbing death -- is ever present, portrayed in a manner that is astonishingly honest for a cartoon. As a result, it is that rare animated film that really aims for a mature audience, despite its superficial funny animal trappings. It has a brilliant opening, most likely created by UPA veteran John Hubley, which in a primitive and simplistic style relates a creation myth as told by rabbits. The style changes thereafter, with beautiful watercolor backgrounds and a more natural approach to character animation. Unfortunately, the animation suffers somewhat from this point, becoming a bit sloppy, although it continues to portray the characters' movements as realistically as possible. The character designs themselves are rather too similar, with the result that it is sometimes difficult to tell the various rabbits apart. The story is also sometimes told in too-broad strokes, leaving those unfamiliar with the novel confused as to exactly what has happened and, more importantly, why. However, these flaws are redeemed by some unforgettable sequences, including a chilling segment detailing the destruction of the rabbits' warren and a devastatingly sad end sequence in which the Black Rabbit of Death gently takes one of the heroes away with it. Voiced by a fine cast, with stellar work from John Hurt and Richard Briers, Watership Down is an imperfect film with some of the most powerful moments ever created for the genre. ~ Craig Butler, Rovi

The American Film Theatre has made movies of a number of significant theatrical performances, including Laurence Olivier's Othello. Another of these filmed theatricals is Simon Gray's Butley, which was brought to the screen by playwright Harold Pinter, and which features an astonishing performance by Alan Bates. The story focuses on one very bad day in the life of Butley (Bates), a feisty, sharp-tongued, lazy and pathetic professor of English. His professional ascendancy is challenged by a slick, accomplished woman many years his junior; his ex-wife gives him conniptions when she announces her remarriage to someone he cannot bear; and his male lover of several years chooses this time to announce that he is leaving him for a sweeter-tempered but very ordinary man of the sort Butley despises. Bleak though this sounds, Butley's unconquerable wit and biting repartee transform this otherwise tragic tale into something of a celebration of survival. ~ Clarke Fountain, Rovi

This is the 20th feature in the successful "Carry On" series of bawdy slapstick comedies. Sidney Bliss (Sidney James) and his faithful assistant Sophie (Hattie Jacques) run a bogus matrimonial agency designed to unite people looking for love and romance. One couple never speaks a word in the film but are seen kissing in strange and familiar places. Three love-starved ladies offer their services to anyone who asks, and an excellent pie fight harkens back to the days of the classic silent comedies, with continual running gags and sexual innuendo permeating the film. ~ Dan Pavlides, Rovi