Leonard Rossiter Movies

Meant to be a parody of the recent invasions of Grenada and the Falkland Islands, this comedy about the laid-back governor (Michael Caine) of "Cascara," a fictional British island somewhere in the Caribbean, and the international parade of characters who come through his territory is a pastiche without a clear center. Among these multinational characters are an American industrialist out to exploit the island's rich source of mineral water -- also the source of all the subsequent trouble on the island -- some inexplicable French-German visitors, a singing revolutionary with ties to Fidel Castro, and various parodies of Brit diplomats and politicians, Margaret Thatcher included. ~ Eleanor Mannikka, Rovi

Two years after the death of Peter Sellers, Blake Edwards tried to exhume his corpse in this pastiche of clips and out-takes from the old Pink Panther films. The plot concerns the legendary "Pink Panther" diamond which is once more stolen. Inspector Clouseau (Peter Sellers) is again enlisted to find the stolen bauble. When he follows the trail of the diamond to another country, he leaves on an airplane that is soon reported missing. Television reporter Marie Jouvet (Joanna Lumley) then sets out to interview old acquaintances and associates of Clouseau, including Lady Litton (Capucine), Inspector Dreyfus (Herbert Lom) and Sir Charles Litton (David Niven), who recall their experiences with the bumbling inspector. ~ Paul Brenner, Rovi

Often described as "Ship of Fools with a conscience," Voyage of the Damned is based on a true story. In 1939, the Nazis ostentatiously loaded a luxury liner with hundred of Jewish refugees from all walks of life. The ship then tried to drop anchor in Havana, Cuba-only to have its passengers refused entry by the Cuban government, in keeping with its super-stringent immigration policies. This was exactly what the Nazis expected to happen, and indeed wanted to happen. By having the refugees turned away from Havana, the German government could "prove" that the Jews were indeed the most unwanted race on earth, thereby justifying Hitler's extermination policy. The crosssection of humanity on board the ship includes the requisite big-time stars: Faye Dunaway as a monocle-sporting countess and Oscar Werner as Dunaway's society-doctor husband; professor Luther Adler and his wife Wendy Hiller; poverty-stricken Nehemiah Persoff and Maria Schell, who hope to be reunited with their "fallen" daughter Katherine Ross; disbarred attorney Sam Wanamaker and his family (wife Lee Grant, daughter Lynne Frederick); anti-Nazi captain Max Von Sydow; and so on. Representing the Cuban government are president Fernando Rey and bureaucrat Jose Ferrer; other Havana denizens include businessman Orson Welles and minister James Mason. Despite its morbid overtones, Voyage of the Damned ends on a faintly positive note. ~ Hal Erickson, Rovi

With ornate imagery reminiscent of paintings from the story's 18th century period, Stanley Kubrick's adaptation of William Makepeace Thackeray's novel depicts the rise and fall of a sensitive rogue in the British aristocracy. Young Irishman Redmond Barry (Ryan O'Neal) leaves home to seek his fortune after apparently killing an English officer in a duel. Through a series of mishaps and accidents, Barry winds up fighting with the Prussian army in the Seven Years' War under the command of Capt. Potzdorf (Hardy Kruger); at war's end, Potzdorf enlists Barry to spy on a shady Chevalier (Patrick Magee). Instead, Barry joins up with the Irish Chevalier to flee Prussia and live as gamblers among Europe's elite. Wishing to climb even higher, Barry soon meets the beautiful Lady Lyndon (Marisa Berenson), marrying her for her fortune after her older titled husband dies. Her son Lord Bullingdon (Leon Vitali), however, despises the upstart Barry, and, regardless of how his mother may feel, sees to it that the re-named Barry Lyndon will never be able to stake his claim to the entrenched aristocracy. Coming after Kubrick's esteemed hits 2001 (1968) and A Clockwork Orange (1971), Barry Lyndon opened with high expectations and met with decidedly mixed responses to its restrained tone. Even with Oscar nominations for Best Picture and Best Director (and wins for Cinematography, Art Direction, Costumes, and Adapted Score), Barry Lyndon was a box office failure, as mid-'70s audiences increasingly turned away from such narrative challenges as its epic length and muffled emotions. Since then, Barry Lyndon has gained in stature, taking its place among the formidable artistic achievements of Kubrick's career. ~ Lucia Bozzola, Rovi

Adapted for the screen by Edward Anhalt from the play by John Osborne, Luther stars Stacy Keach as religious leader and "heretic" Martin Luther. In minimalist fashion, the film traces Luther's disillusionment with the Catholic Church, and his eventual spearheading of the Reformation movement. Over the course of the film, Keach ages from an ingenuous seminarian to a disgruntled, middle-aged firebrand. Director Guy Green does little to cinematize the material, instead favoring a theatrical approach and thus allowing the rich dialogue to be better appreciated. Luther was a production of the American Film Theatre. ~ Hal Erickson, Rovi

Gerald Arthur Otley (Tom Courtenay) is a British secret agent called in to investigate the murder of a suspected influence pedlar and document smuggler. He trails double agents and double martinis at a posh cocktail party before discovering the villains have the cooperation of top government officials in Parliament. Otley is pegged to masquerade as a possible defector to oust the criminal mastermind who plans to sell some stolen documents vital to national security to any enemy agent with the most money. Murder, blackmail and auto chases dominate the action as the femme fatale Imogen (Romy Schneider) first has Otley beaten up by her thugs before combining forces to go after the real villains in this confusing and sometimes funny spy yarn. ~ Dan Pavlides, Rovi

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi

Marcello Mastroianni marks his English language film debut in this featherweight caper film directed by first-time director Christopher Morahan. Mastroianni plays the owner of a London boutique who also happens to be the fourth in line to succeed the Russian throne. Mastroianni, feeling that the collection of Russian imperial jewels actually belongs to him, determines to steal them and return them to their rightful owner -- himself. To carry out his plan, he puts together a cadre of pulchritudinous female crooks and arranges for his gal gang to model the imperial jewels at a fashion show. But, as usual, complications set in to mess up his plans. ~ Paul Brenner, Rovi

In this 1967 drama, resourceful British agent Bulldog Drummond, who appeared onscreen in a series of spy stories between 1929 and 1951, returned to duty in the wake of James Bond. Here, Drummond (Richard Johnson) is on the trail of Carl Petersen (Nigel Green), a corrupt industrialist who has a bad habit of stealing the ideas of others and then killing them so he can reap their profits. The nefarious Petersen has a team of female assistants willing to kill on command, led by Irma (Elke Sommer) and Penelope (Sylva Koscina). One more Bulldog Drummond vehicle, Some Girls Do, followed in 1969 before the series was retired again. ~ Mark Deming, Rovi

Years before the story proper in The Wrong Box gets under way, a "tontine" is drawn up on behalf several young British boys. Each of the boys' parents had placed 1000 pounds in a pool, to be invested and expanded upon. The resultant fortune will go to the last surving member of the tontine. A series of montages depicts the various demises of the heirs (our favorite occurs when one of them is inadvertently beheaded while being knighted by Queen Victoria). Finally, only two of the tontine participants are left: aged brothers Ralph Richardson and John Mills. On his last legs, Mills is determined that Richardson will not outlive him, and to that end attempts to kill his brother; each attempt fails spectacularly, with the doddering Richardson none the wiser. Standing to benefit from the tontine are Mills' dimwitted med-student son Michael Caine and Richardson's greedy nephews Peter Cook and Dudley Moore. When Richardson is supposedly killed in a train wreck, Cook and Moore don't want the authorities to find out, so they appropriate what they think is their uncle's corpse and ship it home in a box. Thus it is that Caine finds the body of a perfect stranger on his doorstep. The farcical complications begin flying about thick and fast from this point onward. Among the participants in this wacky gigglefest are such formidable talents as Peter Sellers, Tony Hancock, Wilfred Lawson, Thorley Walters, Norman Rossington, Irene Handl and Cicely Courtenedge. Based on a novel by Robert Louis Stevenson, The Wrong Box is a delightful harkback to the glory days of Britain's Ealing comedies. We were so wrapped up in the story that we didn't even notice all those TV antennae sprouting up on the rooftops of Victorian London. ~ Hal Erickson, Rovi