Fernando Rey Movies

This Spanish film, shot in the lovely Huesca region, pokes gentle fun at the showbiz aspirations of five monks in a lonely monastery. When the grouchy old screenwriter cannot meet his deadline for the script for a new and already dull movie, he and his partner end up sequestered in a Spanish monastery. The five monks cannot help but add their two pesos worth every chance they get. The screenwriter also finds unwanted advice from the town baker who believes the script, which was set in 19th-century Scotland and written for Sean Connery, would be more interesting if it were a modern Spanish story with local settings. The baker, a pretty young woman, has many great ideas for the film. She, the screenwriter and his partner end up in a triangle that parallels the triangle in the story. ~ Sandra Brennan, Rovi

In this mystery, a Picasso painting has been stolen. Various people are involved in the resolution of the story, including a lawyer with an eye for the women, and that lawyer's diffident shy client who winds up with the lawyer's gorgeous girlfriend. ~ Clarke Fountain, Rovi

The physical and emotional wounds suffered by tubercular Italian veterans from WW II living in a sanitarium provides the basis of this episodic psychological study. ~ Sandra Brennan, Rovi

Over the course of his lifetime, the legendary director Orson Welles (1915-1985) was forced to leave many of his grander movie-making projects unfinished, generally for want of sustained financial backing. Each successive unfinished effort generated buzz throughout the worshipful film community that only served to brighten the luster of his legend. Thus it was only a matter of time before one of his many admirers bought the rights to the fairly extensive footage he shot for his film Don Quixote (begun in 1955) and attempted to edit it into some semblance of a finished film, based on research into Welles' stated intentions and notes. A fuzzy, out-of-focus print of the resulting film was shown at the 1992 Cannes Film Festival, and it was immediately deemed as a hashed-up job, a travesty bordering on the sacrilegious, by the assembled deeply interested and knowledgeable viewers. Their criticism focused mainly on issues that ordinary viewers would deem excessively technical, but the gist of it was that this was a very un-Wellesian use of Welles' footage. However, the film does offer viewers a unique opportunity to see some of the master's mature story ideas onscreen. In addition to footage from the film, the movie is also a kind of semi-documentary homage to Welles, showing footage of the famed director at work. ~ Clarke Fountain, Rovi

A woman desperate to change her life takes a wrong turn into danger and degradation in this drama. In 1924, Stephanie (Mathilda May) is travelling to Buenos Aires with her husband, who is considerably older than her and in poor health. Stephanie is not happy with her life, so when a young woman named Alba falls overboard and drowns, Stephanie assumes her identity once the ship arrives in Argentina. Stephanie realizes that this was a terrible mistake when she learns that Alba was the mail-order bride of Zico (Esai Morales), a notorious pimp and mobster who puts her to work in a brothel that he operates with his family. A terrified Stephanie kills her first customer and is soon on the run from the police; she finds that she must return to Zico's criminal family for protection, where she is placed at the mercy of Cholo (Vincent D'Onofrio), the sensuous-but-brutal "King of the Tango." Naked Tango reunited Leonard Schrader, Manuel Puig, and David Weisman, who had worked together as screenwriter, book author, and producer on the international hit Kiss of the Spider Woman (1985). ~ Mark Deming, Rovi

This confusing and meandering mystery concerns a double crime committed in a rural village in 1956. Greedy land speculators, soldiers on leave, a house of prostitution, and a smuggler with a mentally challenged daughter are the focus of this crime drama that lacks suspense and suffers from being to disconnected. ~ Dan Pavlides, Rovi

Even a press conference with the director after the showing of Diaro De Invierno at the San Sebastian Film Festival failed to give any insight to this confusing avant garde feature. A snake charmer (Francisco Algora) is held in a jail cell. A mother leads a double life of saint and harlot. A man who practiced euthanasia dies in a fire. The end result is a pretentious, self-indulgent film that supposedly is seen from the perspective of someone in a police station. ~ Dan Pavlides, Rovi

Jack Noah (Richard Dreyfuss) is all actor: Self-possessed, obsessive, vulnerable, and an addict for praise, his soul burns with "the craft." Having just finished a grade-Z straight-to-cable crime thriller in the fictional South American country of Parador, he gets the ultimate acting challenge (though it's more like an offer he can't refuse) from Roberto Strausman (Raul Julia), the Paradorian dictator's chief advisor. The challenge: impersonate the country's dictator, whose just died. Strausman knows just how to manipulate Noah: He takes him to a meat locker, shows him the director's body (actually Dreyfuss' brother, Lorin), threatens to kill him, and he brings clips of Noah's best reviews. Thus enticed, and bearing a striking resemblance to the man, Noah accepts the job. Under the exacting direction of Strausman, he follows the script precisely. Noah immediately enjoys the job's perks, not least of which is the dictator's scorching mistress, Madonna (Sonia Braga), but of course cannot conceal his real identity to her. A close call with Parador's revolutionaries and Madonna's brimming social conscience push Noah to take command of the role. He starts pushing a kinder, gentler social agenda, and incurs Strausman's wrath. It begins to look like Noah will play the dictator's last act, but a chance meeting with a stunt man friend (Michael Greene) inspires a caper that will change all of the characters' fates. ~ Nick Sambides, Jr., Rovi

In this idiomatically Spanish comedy, set in the woodlands of Galicia in the 1920s, a large cast of oddballs and fools somehow manage to carry on with their lives (and deaths). One of these odd ducks is a bandit who cannot quite manage to pull off a robbery, though the travelers he meets are quite obliging. Another is a ghost who wishes he had traveled to America before dying. Even a funeral is a source of laughter, as two spinster sisters send the dead one off into the afterworld with countless messages and admonitions for their deceased relatives. ~ Clarke Fountain, Rovi

In this romantic farce, Macarena is a pretty French girl who has come to Cordoba in southern Spain in search of a man she believes may be her father. She finally tracks him and his clan down in a minor city museum: they have become squatters there during one of the museum curator's brief absences. Two policemen have been given the job of persuading the wacky family to vacate the premises. Their response to these blandishments is to threaten to destroy the museum's treasures. At the same time her maybe-father's two sons are putting the make on her, one of the policemen has taken up residence with the family and is dancing with them, as a police SWAT team prepares to storm the building. ~ Clarke Fountain, Rovi

A diverse group of guests gather in a small hotel in Paris to contemplate the state of their lives in this pretentious drama. Joseph Goldman (Fernando Rey) is a washed-up Hollywood actor making a living in the dinner-theater circuit. Accompanied by his wife Sarah (Carola Regnier), Goldman meets Frederique (Berangere Bonvoisin), who is hiding from her former lover. French financier Arthur (Fabrice Luchini) hopes to get into the film industry and bends the ear of a British director (Michael Medwin). The talkative film has little action, and none of the characters evoke much interest or resolve their dilemma. ~ Dan Pavlides, Rovi

Part of the Nazi-hunter subgenre that emerged in the wake of 1978's The Boys from Brazil, this lurid thriller comes from Italian director Andrea Bianchi and was co-written by exploitation legend Jesús Franco. The film follows a group of Jewish agents bent on exacting revenge on Nazi officers who escaped capture after WWII. Trekking to South America in search of the infamous Dr. Mengele, the team discovers the sadistic doctor is performing gruesome medical experiments on innocent local women. Commando Mengele is also known as Angel of Death. ~ Matthew Tobey, Rovi

Filmed in Tunisia on a budget of 30 million dollars, the five-part, 12-hour miniseries A.D. was the final installment in a historical trilogy which included Moses the Lawgiver and Jesus of Nazareth. Covering the years 30 to 69 A.D., the teleplay, co-written by Anthony Burgess, chronicled the political intrigue which plagued the Roman Empire, with such key players as the emperors Tiberius (James Mason in his final role), Caligula (John McEnery), Claudius (Richard Kiley), and Nero (Anthony Andrews) calling the shots. Meanwhile, the death of Jesus Christ (played by Michael Wilding, son of Elizabeth Taylor) not only sparked a widespread monotheistic religious movement, but also resulted in devastating factionalism amongst the various Jewish sects of the era. Offsetting the true events are a number of fictional subplots, among them the romance between Jewish slave girl Sarah (Amanda Pays) and Roman soldier Valerius (Neil Dickson), and the tempestuous relationship between male and female gladiators, Caleb (Cecil Humphreys) and Corinna (Diana Venora). The huge cast included Ava Gardner, making her TV-movie debut as the scheming Agrippina. The winner of an Emmy award for Best Film Editing, A.D. was broadcast by NBC from March 31 through April 4, 1985. ~ Hal Erickson, Rovi