Roger Lloyd Pack Movies

Four new episodes are on the docket as The Vicar of Dibley enters its third and final season. This time around, the episode titles reflect the four seasons in the uniquely eccentric coastal village of Dibley--and four eventful phases in the life of the town's rambunctious female Vicar, Boadicea Geraldine "Gerry" Granger (Dawn French) In "Autumn" the brief romance between Gerry and Simon Horton (Clive Mantle), brother of Dibley's irascible Parish Council Chairman David Horton (Gary Waldhorn), may be rekindled--if Simon doesn't pull the same dreadful trick he pulled on Gerry the last time. In "Winter", parishioners Alice (Emma Chambers) and Hugo (James Fleet) star as Mary and Joseph in the Christmas pageant--entirely appropriate, considering Alice's delicate condition. In "Spring", Gerry and David at last find something over which they can see eye to eye, while a visiting bishop arrives for the christening of Alice and Hugo's baby. And finally, "Summer" is a-comin' in--bringing a water shortgate that prompts Gerry to perform above and beyond the call of duty. ~ Hal Erickson, All Movie Guide

Season Two of the British comedy series The Vicar of Dibley yields four new episodes, the first of which, "ngagement", finds Dibley's boisterous female Vicar "Gerry" Granger (Dawn French) helping to smooth the course of romance for Dibley's two most timid citizens, Alice Tinker (Emma Chambers) and Hugo Horton (James Fleet). Next up is "Dibley Live", in which the selfsame Alice and Hugo--still unattached--help out when Gerry sets up a local radio program. In "Celebrity Vicar", Gerry gets in trouble with her parishioners after being interviewed by Terry Wogan on BBC's "Food for Thought." And in the season finale "Love and Marriage", good old Alice and Hugo are prepared to plight their troth, but a last minute crisis imperils their future happiness--not to mention the happiness of Gerry, who has been smitten by Dan Cupid herself. ~ Hal Erickson, All Movie Guide

Anne Rice's best-selling romantic horror tale about the origins of a centuries-old vampire inspired this popular, atmospheric chiller. One of director Neil Jordan's major Hollywood productions, the film stays close to its source material, retaining the frame of a young reporter (Christian Slater) interviewing a man who claims to be a 200-year-old vampire. The man, Louis (Brad Pitt), shares his story, beginning in 18th-century New Orleans with his first encounters with the charismatic and decadent vampire Lestat (Tom Cruise). Lestat converts Louis to blood-sucking and immortality, but Louis fails to adopt Lestat's cavalier attitude, instead tormenting himself with guilt over his new nature. The two vampires remain deeply, if reluctantly, connected over the years, while becoming intimately involved with others of their kind, including Claudia (Kirsten Dunst), a mature immortal in a young child's body. Fans of the novel raised numerous objections, particularly after Rice initially spoke out against the casting of Cruise as Lestat; further casting difficulties followed the death of River Phoenix, whose role as the interviewer was assumed by Christian Slater. Rice later recanted her objections, and the combination of thrills and gothic romance proved popular with audiences. ~ Judd Blaise, All Movie Guide

Franz Kafka's classic tale of Josef K., a bank clerk who is placed on trial for an unnamed, unknowable crime, is given a faithful, if not overly literal, treatment in this drama. Knowing only that he has been charged, Josef naturally sets out to defend himself, but soon finds himself deeply mired in a battle against an incomprehensible government bureaucracy. Following Orson Welles's adaptation of the book by some three decades, director David Jones chooses to avoid the earlier film's expressionistic approach. Instead, he sets Josef's travails against a realistic background that specifically recalls Eastern Europe during the early 20th century, the time of the book's writing. Similarly, the screenplay by famed British playwright Harold Pinter, whose own darkly absurd vision owes much to Kafka, hews closely to the original text. This faithful approach helps ground the story in historical reality, and allows for a good use of brooding Prague locations. However, many critics have found this approach less effective than the low-budget abstraction of Welles' version, which is more successful at highlighting the universality and symbolic nature of the tale. ~ 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, All Movie Guide

Michael Lindsay-Hogg wrote and directed this cool and sleek comedy about a seemingly perfect combination -- an American couple staying at a chic London hotel whose pride doesn't permit them to recognize that they are broke, and a hotel staff so brimming with proper British reserve that they can't inform the American freeloaders they need to be paid. Jake (John Malkovich) and Tina (Andie MacDowell) are the American couple trapped in splendor at a London hotel after Jake's cocoa deal in a Third World County is stalled by revolutionary upheaval. Their plight is so dire they walk up the stairs to their luxurious suite rather than take the elevator and risk encountering the hotel manager. Hitting rock bottom, they take stock of their assets and find one -- a $50,000 Henry Moore bust. They decide to fabricate a robbery and collect the insurance money, but a deaf maid (Rudi Davies) has fallen in love with the bust and stolen it herself. ~ Paul Brenner, All Movie Guide

This is probably Peter Greenaway's most famous (or infamous) film, which first shocked audiences at the 1989 Cannes Film Festival and then on both sides of the Atlantic. A gang leader (Michael Gambon), accompanied by his wife (Helen Mirren) and his associates, entertains himself every night in a fancy French restaurant that he has recently bought. Having tired of her sadistic, boorish husband, the wife finds herself a lover (Alan Howard) and makes love to him in the restaurant's coziest places with the silent permission of the cook (Richard Bohringer). Though less cerebral than Greenaway's other films, featuring deadly passions reminiscent of Jacobean revenge tragedies of the early 17th century, the picture still offers the director's usual ironic and paradoxical comments on the relations between eating and sex, love and death. The film is at once funny and horrific, and those who are not used to Greenaway's peculiar style might be even disgusted or shocked; however, one might mention Sacha Vierny's brilliant camerawork, Jean-Paul Gaultier's gaudily stylized costumes, and Michael Nyman's somber, pulsating music, which will haunt the viewer long after the film's end. ~ Yuri German, All Movie Guide

Directed by British filmmaker Michael Radford, Nineteen Eighty-Four is the second film adaptation of the George Orwell novel. The film is set during April of 1984 in post-atomic war London, the capital city of the repressive totalitarian state of Oceania. Winston Smith (John Hurt) is a government bureaucrat whose job is rewriting history and erasing people from existence. While his co-worker Parsons (Gregor Fisher) seems content to follow the state's laws, Winston starts to write in a secret diary despite the fact the "Big Brother" is watching everyone at all times by way of monitors. He silently suffers and tries to comprehend his oppression, which forbids individual human behaviors such as free thinking and sex. He meets Julia (Suzanna Hamilton), who works for the Ministry of Truth, and they engage in a stoic love affair. They are soon found out, and Winston is interrogated and tortured by his former friend O'Brien (Richard Burton in his final film appearance). ~ Andrea LeVasseur, All Movie Guide

In director Richard Lester's Cuba, Sean Connery plays British soldier-of-fortune Robert Dapes, sent to Havana during the last days of the Batista regime. He is supposed to train Batista's soldiers for their upcoming confrontations with Castro's followers. As Dapes becomes increasingly sympathetic towards the rebel cause, he takes a few precious moments to renew his romance with Alexandra Pulido (Brooke Adams), who is now married to Juan Pulido (Chris Sarandon). The basic thrust of the film is that unchecked capitalism is perfectly capable of collapsing under its own weight -- and that lofty idealism can be easily forgotten once absolute power is within one's grasp. ~ Hal Erickson, All Movie Guide

Norman Jewison's adaptation of the long-running Broadway musical is set in the Ukranian ghetto village of Anatevka (the film was actually lensed in Yugoslavia). Israeli actor Topol repeats his London stage role as Tevye the milkman, whose equilibrium is constantly being challenged by his poverty, the prejudicial attitudes of non-Jews, and the romantic entanglements of his five daughters. Whenever the weight of the world becomes too much for him, Tevye carries on lengthy conversations with God, who does not answer but is at least more willing to listen than the milkman's remonstrative wife Golde. After arranging a marriage between his oldest daughter Tzeitel and wealthy butcher Lazar Wolf, Tevye is forced to do some quick rearranging when the girl falls in love with poor tailor Motel Kamzoil. Fancying himself more broad-minded than his gentile oppressors, Tevye cannot accept the notion that his other daughter Chava would want to marry Fyedka, a non-Jew. And after shouting the praises of "tradition," Tevye must change his tune-and his entire life-when he and his neighbors are forced out of Anatevka by the Czar's minions. Topol's co-stars include Norma Crane as Golde, Yiddish theater legend Molly Picon as Yente the matchmaker, and Leonard Frey as Motel. ~ Hal Erickson, All Movie Guide

The third collaboration between director Joseph Losey and writer Harold Pinter, following The Servant and Accident, continues their exploration of class rituals and the darker recesses of desire. Pinter's script adapts the 1953 L.P. Hartley novel about Leo Colston, a middle-aged man (Michael Redgrave), recalling a summer of his early adolescence at a country estate. Young Leo (Dominic Guard) observes the machinations of the adults in the household, all but two of whom conveniently ignore his presence. Marion Maudsley (Julie Christie) is promised in marriage to another aristocrat, but she is secretly in love with farm worker Ted Burgess (Alan Bates). They enlist Leo as their messenger, with tragic consequences for all concerned. The older Leo has never married, and as the story winds on, it becomes clear that his own infatuation with Marion irrevocably altered his life. The Go-Between won several British Academy Awards, including one for Pinter's screenplay, and was one of four films awarded a grand prize at the 1971 Cannes Film Festival. ~ Tom Wiener, All Movie Guide

Perhaps the reason there are so many filmed versions of Hamlet is that in each decade every great Shakespeareian actor, and almost any movie actor with a yen to prove his versatility wants to tilt at this particular thespian windmill. Aside from the much more difficult King Lear, it is also one of the few plays by the master that can serve as a star vehicle. This 1969 version of the Bard's great play features the ardent mumblings of the actor Nicol Williamson, who brought his non-Standard British to the role. Williamson's esoteric enunciations were all the rage at the time of this film's revision of Shakespearian tradition, and his vocal mannerisms were arguably more authentic than usual. Scholars tell us that the English of Londoners in Shakespeare's time sounded very much like that spoken by Highland Scots today. Despite his stage success in the role, the vastly capable actor's magnetism was insufficient to make a popular success of this particular version. All the same, it is worth viewing on its own merits, and for supporting performances by future stars Anthony Hopkins and Anjelica Huston. ~ Clarke Fountain, All Movie Guide