Sheila Reid Movies

Differentiating this TV-movie version of Charles Dickens' A Christmas Carol from the hundreds of other adaptations of the same Yuletide classic is its tongue-in-cheek ambience and a bundle of memorable tunes by perennial Disney composer Alan Menken and former Schoolhouse Rock lyricist Lynn Ahrens. Inspired by a stage musical which used to be presented annually at New York's Madison Square Garden, this Christmas Carol stars Kelsey Grammer as tight-fisted Ebenezer Scrooge, who sees the errors of his ways just in time to oversee the "best Christmas ever" for his long-suffering clerk Bob Cratchit (Edward Gower) and "God Bless Us Everyone" Tiny Tim (Jacob Moriarty). On this occasion, the spirits materializing for Scrooge's benefit include Jason Alexander as a neurotic Jacob Marley, Jesse L. Martin as a laid-back Ghost of Christmas Present, Jane Krakowski as a sexy Ghost of Christmas Past, and Geraldine Chaplin as a spooky Ghost of Christmas Future (in Wizard of Oz tradition, three of these four actors also appear as "real" people in Scrooge's everyday life). Highlights include the song "Link by Link," wherein the ghostly Marley and a chorus of wraiths perform a lively ball-and-chain dance number, and the outsized Christmas celebration in the home of Scrooge's first boss, Mr. Fezziwig (Brian Bedford), which features among other things a "pole dance" by the Ghost of Christmas Past! Filmed on-location in Budapest (which sort of looks like Dickensian London if you squint real hard), A Christmas Carol: The Musical won an Emmy award for musical director Michael Kosarin -- and, alas, tanked in the ratings when first telecast by NBC on November 28, 2004. ~ Hal Erickson, Rovi

Adapted from a stage play by Sharman McDonald, this film marks the directorial debut of British character actor Alan Rickman. Set against a bleak winter landscape of rural Scotland, the story centers around the recently widowed Frances (Emma Thompson) and a visit from her mother, Elspeth (Phyllida Law, Thompson's real-life mother). Elspeth seeks to console Frances, but Frances resists. The mother and daughter have a prickly relationship. While they thrust and parry emotionally, Frances' son Alex (Gary Hollywood) longs for the tomboy Nita (Arlene Cockburn). Two young boys, Tom (Sean Biggerstaff) and Sam (Douglas Murphy), are in the neighborhood looking for adventure. Two older women, Chloe (Sandra Voe) and Lily (Sheila Reed), go to funerals of strangers. The epidosic film eventually ties together all these characters in a surprising way, but the core of the drama is the evolution of the difficult mother-daughter relationship. ~ Michael Betzold, Rovi

Jake (Clive Owen) and Ringe (David Thewlis) keep a 1950s American car under wraps in hopes of someday escaping their drab town. When Jake falls for divorcee Susan (Diana Quick), she joins Jake and Ringe on a joyride, but the excitement of their initial freedom is short-lived, as they are soon bilked of all their money. Jake realizes his two companions do not share in his idea of carefree motoring, and he brings the two back home. Jake symbolically flies in his vehicle over the town he left behind. ~ Dan Pavlides, Rovi

In dire need of the valuable mineral Zyton-7, the Doctor (Colin Baker) and Peri (Nicola Bryant) journey to Varos, a onetime prison colony. Here they discover that the population is held in mental bondage by a network of video screens, which offer a 24-hour diet of televised tortures. Who - or what -- is behind this electronic outrage? Written by Philip Martin, the two-part "Vengeance on Varos" was originally telecast on January 19 and January 26, 1985; the two 45-minute episodes have since been recut into a four-part cliffhanger for American television. ~ Hal Erickson, Rovi

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, Rovi

Fred Zinnemann's final film is a meditative examination of an illicit May-December romance, set in the mountain expanse of the Swiss Alps. Sean Connery plays Douglas, a middle-aged Scottish doctor on vacation in the Alps in 1932 with a beautiful and fresh-faced young woman, Kate (Betsy Brantley), whom he introduces as his wife. Douglas has taken Kate to the Alps to introduce her to the invigorating sport of mountain climbing. When Douglas and Kate arrive at the mountain lodge, their happiness is tempered by a knowing melancholy. Through flashbacks, it is revealed that Kate has been madly in love with Douglas since she was a little girl and that she seduced him away from another woman. The flashbacks also reveal that Kate is not his wife, but his niece. But then, in their mountain retreat, young and handsome guide Johann (Lambert Wilson) makes an entrance. Johann immediately develops an attraction for Kate. Now Kate has to worry if the feeling is mutual. ~ Paul Brenner, Rovi

Trevor Howard is virtually the whole show in Sir Henry at Rawlinson End. He plays an eccentric-to-the-point-of-insanity nobleman whose love affair with the bottle is a long standing source of family embarrassment. Still, when the family mansion is plagued by an unfriendly ghost, Howard finds himself the only one willing or able to exorcise the spirit. Sir Henry at Rawlinson End was based on a radio play by Vivien Stanshall. As such, it is more satisfying for the ear than for the eye. ~ Hal Erickson, Rovi

This provocative sci-fi outing is set in an over-populated, horribly polluted 21st century where child-bearing has become illegal. To help ease the tension and stress caused by not procreating, married couples use robot dolls to substitute for children. One couple decides to break the law and have a real baby in secret. Unfortunately, their neighbors find out and demand that the couple share the baby with them. The other couple does so, but finds that the neighbors get too attached to the infant. They stop sharing their child, and the neighbors becomes so angry that they report them to authorities. The couple and their baby are arrested and sentenced to death. Fortunately, the clever husband anticipated this and made a few plans in advance. ~ Sandra Brennan, Rovi

Russian playwright Anton Chekhov's three upper-class Prozorov sisters -- Masha, Olga, and Irina -- come no closer to their dream of returning to Moscow in director Laurence Olivier's 1970 film version of Three Sisters than they did in Chekhov's original 1900 play. This melancholy classic about shattered dreams, self-delusion, and compromise was directed by Olivier for Britain's National Theatre in 1967. The film, a literal record of Olivier's stage version, was produced in order to raise money for the ever-imperiled National. Olivier, who'd just recovered from a serious illness, plays the mischievous army doctor Chebutikin, while Olivier's wife, Joan Plowright, essays the major role of Masha, the snobbish general's daughter who tries to escape the stultifying banality of her provincial marriage by having an affair. Three Sisters was released in the U.S. in 1974 as part of the American Film Theatre series. ~ Hal Erickson, Rovi

The 1965 Othello is literally a photographed stage play: a filmed record of the National Theatre Production of 1964, as staged by John Dexter and starring Laurence Olivier. As the easily led, fatally jealous Moor of Venice, Olivier wears thick black-faced makeup and speaks in an uncharacteristically deep, bellow-like voice. Some considered his portrayal of Othello to be an unflattering stereotype; others regard Olivier's interpretation as one of the finest Shakespearean performances ever captured on film. Less flamboyant, but no less effective, are Frank Finlay as Iago, Maggie Smith as Desdemona, Derek Jacobi as Cassio, and Joyce Redman as Emilia. Oscar nominations went to Olivier, Finlay, Smith, and Redman. ~ Hal Erickson, Rovi