John Rae Movies

In this thriller a race-car driver develops mysterious psychic powers that allow him to warn people of impending danger. No one believes him until he meets an understanding parapsychologist who helps race off to warn those he saw in his terrifying vision. ~ Sandra Brennan, All Movie Guide

A couple tries to hold their relationship together despite the twenty-three year gap in their ages in this romantic comedy/drama. Scott Wardman (Charles Bronson) is an 39-year-old American author living in England who supports himself by writing pornographic novels. Scott meets Twinky (Susan George), an attractive young woman who tells him she's almost 20. Scott quickly falls for her beauty and charm, but he discovers her definition of "almost" is looser than that of most people -- it seems Twinky is only 16 years old. In a moment of romantic impulse, Scott and Twinky travel to Scotland and get married, but Twinky's parents are less than enthusiastic when they hear the news. Scott soon brings his new bride to New York City to meet his friends, and while they're not as upset, they have a hard time believing this is true love, especially after the differences in Scott and Twinky's ages become increasingly apparent. Lola (also released as Twinky) was an early film credit for director Richard Donner, who at the time was still best known for his work in television. ~ Mark Deming, All Movie Guide

A classic 1960's cult film in the British "angry young man" tradition, the hero of this film from Czech director Karel Reisz is more lunatic than agitator. Morgan Delt (David Warner) is an artist from a working class background, married to Leonie (Vanessa Redgrave), a woman far above him in social standing. Given to a rich fantasy life to begin with, Morgan goes off the mental deep end when Leonie informs him that she's asking for a divorce and taking up with art dealer Robert Stephens (Charles Napier), a man more befitting her class. Thoroughly gone around the bend, Morgan enacts a series of bizarre gags and stunts in a campaign to win Leonie back, including putting a skeleton in her bed and crashing her wedding dressed as a gorilla. His antics eventually get Morgan arrested and committed to an asylum, where he embraces his mother's ardent communist beliefs. Redgrave was Oscar nominated for Best Actress for her role, her feature film debut. ~ Karl Williams, All Movie Guide

John Rae's novel The Custard Boys became this World War II drama from British documentary filmmaker Philip Leacock. Martin Tomlinson stars as John Curlew, a troubled teenager who is part of a gang of London boys evacuated to a small English coastal town during World War II. Desperate to join the war effort and fearful that the fighting will be over before they're of age to enlist, the boys stage their own mock war games with the local teens, practicing to become soldiers and taking the entire matter very seriously. John, who is conflicted between his loyalty to his zealous friends and his burgeoning desire for an Austrian Jewish refugee, Mark Stein (Oliver Grimm), invites Mark to join the "battles." At first mocked for his Semitic heritage, Mark is eventually allowed to participate, but when he runs off during a battle, the gang decides to court-martial him for cowardice, with tragic results. ~ Karl Williams, All Movie Guide

The Bridal Path is standard comedy fare about a young man, Ewan McEwan (Bill Travers) sent out from his island home to go bride-hunting. The introverted, taciturn Ewan is reaching marriageable age just when the island's elders come up with a new decree. They have decided that there is too much in-breeding on their fair shores and as a consequence, they forbid first cousins to marry. With his bridal selection almost curtailed at home, Ewan heads off to the mainland with a little book of commandments on what to look for and what to avoid in a potential lifetime mate. Aside from encounters with several charming, winsome young women, Ewan soon discovers that the police are after him -- and he does not know why. The chase is on, though all misunderstandings are eventually cleared up. ~ Eleanor Mannikka, All Movie Guide

In this drama, a couple experiences marital turmoil because the husband is a hot-tempered race-car driver with a jealous streak. The woman then gets pregnant and begins hoping that a baby will bring them back together. Unfortunately, the two get into a terrible accident, she loses the baby, and her husband is rendered sterile. This makes her all the more desperate to have one and so she suggests artificial insemination. Her husband isn't totally for it, but then decides to go through with it. Unfortunately, he then changes his mind after the deed is done. At his father's urging, he files for divorce. In court, a jury must decide whether adultery (the film was made in the days before no-fault divorce) was committed. They cannot, but that is okay with the couple who reconcile and go on to become wonderful parents. ~ Sandra Brennan, All Movie Guide

The original 1958 BBC television production of the last of Nigel Kneale's classic Quatermass scripts -- which is best known in association with the 1967 Hammer Films adaptation by Roy Ward Baker -- runs circles around the feature-film version. As with the other Quatermass serials, Kneale's original script goes a lot deeper into meanings, motivations, and consequences of the events depicted, as well as characterization and plot developments. That's understandable, as the producers had six episodes running over 30 minutes each in which to work, instead of the 98-minute running time of the movie. The result is a storyline in which the mystery is developed as much as the horror and science-fiction elements, and is worthy of Sherlock Holmes, one might add. An excavation for a London subway turns up mysterious skeletons, that are almost -- but not quite -- human. An investigation by Dr. Roney (Cec Linder), a paleontologist, reveals that these creatures had abnormally large brain cavities, much larger than was the norm for any known prehistoric proto-human species. There are other specimens as well, large insect-like creatures, and all were clustered around what seems to be a spacecraft buried at the same time as these skeletons, possibly as long as five million years. The unearthing of the space vehicle brings into the case England's greatest rocket expert, Professor Benard Quatermass (Andre Morell), who comes to believe from the evidence that the vehicle is from Mars, as were the insect-like beings. Even as Quatermass and Roney continue to investigate, they run up against resistance from government officials eager to avoid a panic, and from Quatermass' new superior, Colonel Breen (Anthony Bushell), a weapons expert who doesn't trust intellectuals or idealistic scientists, and wants to believe that the spaceship was part of a World War II Nazi hoax intended to raise hysteria among the public. Meanwhile, hysteria seems called for, as strange and potentially deadly manifestations of telekinetic power and other paranormal phenomenon start to overtake workers at the site of the excavation. Quatermass and Roney are convinced that some potentially catastrophic forces are being tampered with, but no one in the government will listen to them until it is too late, and all hell, literally, starts to break loose. ~ Bruce Eder, All Movie Guide

Originally titled Quatermass II, Enemy from Space was the sequel to The Quatermass Xperiment (US title: The Creeping Unknown). Based on the British TV serial by Nigel Kneale (who reportedly disliked the finished product), the film stars Brian Donlevy, repeating the role of Professor Quatermass. This time, the good professor must contend with a "meteor shower" which turns out to be a secret alien invasion. The extraterrestrials arrive on earth in rocklike vehicles, then take over the minds and nervous systems of earthlings, the better to go about their business undetected. Subliminally a cruel satire of British bureaucracy and obfuscation, Enemy from Space also works on a pure-horror level, building slowly and methodically to a powerhouse finale. For many years a "lost" film due to legal tangles, Enemy from Space has recently become available again on video and cable TV. ~ Hal Erickson, All Movie Guide

Escapade has to be one of the most overused titles in movie history. This particular Escapade is a mild British comedy with something to say. John Mills plays a renowned pacifist author, whose sons Andrew Ray and Peter Asher are completely sympatico with their dad's views. Convincing their schoolmates to sign a petition begging for universal peace, the boys decide to present the list of signatures to the four world powers occupying Germany, including those rascally Russians and unpredictable Yanks. But they have to get to Berlin first, and to do that the headstrong lads steal an airplane. It turns out that the boys' long-term goal, cooked up with their sister Yvonne Mitchell, is to reunite their bickering father and mother. Escapade opens up the original Roger MacDougall play to the extent that we actually witness the plane in flight; beyond that, the dialogue and situations remain the same--even down to the slight pauses after the laugh lines. ~ Hal Erickson, All Movie Guide

Originally released as High and Dry, The Maggie was one of the most endearing of the "regional" British comedies of the 1950s. Hollywood's Paul Douglas plays an American businessman whose brash, glad-handing techniques earn nothing but cold stares in a tiny Scottish village. Ever anxious to cut costs, Douglas arranges with a local "transport company" to move his luggage to a remote Scots island. That's how he gets mixed up with The Maggie, a ranshackle old shipping vessel captained by taciturn Alex Mackenzie. Our only cavil: The Maggie is slow going at times, cutting its humor potential in half. ~ Hal Erickson, All Movie Guide

Robert Morley and Maurice Evans play W.S. Gilbert and Arthur Sullivan, 19th-century composers of such imperishable comic operettas as H.M.S. Pinafore, Pirates of Penzance and The Mikado. Much is made of the inescapable fact that Gilbert and Sullivan grew to dislike each other intensely. Also touched upon is the fact that both men felt they were writing "beneath" their talents, and yearned to do something more serious than their witty frivolities. And of course, we are treated to generous excerpts from several of Gilbert and Sullivan's works, performed by such D'Oyly Carte veterans as Martyn Green. Gilbert and Sullivan was originally titled The Story of Gilbert and Sullivan; its US release title was The Great Gilbert and Sullivan. ~ Hal Erickson, All Movie Guide

In one of his rare visits to his home turf, British actor David Niven essayed the title role in Bonnie Prince Charlie. The film's principal challenge was to transform 18th-century Scottish Prince Charles into a sympathetic character, which, patriotism aside, he most decidedly was not in real life. The court-intrigue scenes are the weakest aspect of the film; the strongest moments take place on the battlefield, where Charles "the pretender" and his followers face down the battalions of King George II (Martin Miller). Even in defeat, Charles is the victor, successfully eluding his British pursuers and escaping to France. Filmed in Technicolor at a cost of $4 million, Bonnie Prince Charlie fell with a thud when it premiered at a kidney-busting 140 minutes. Subsequent reissues were cut by as many as 40 minutes, and some were economically reprocessed in black-and-white. Thanks to constant exposure on American television, this notorious flop finally posted a profit in the late 1950s. ~ Hal Erickson, All Movie Guide

In this comedy, a band of British birdwatchers fight to save a rare species of birds from destruction. The title bird is a skinny little thing that can wag its tail. It lives in English wheat fields. ~ Sandra Brennan, All Movie Guide