Nigel Terry Movies

Homer's sprawling tale of love and war in ancient Greece comes to the screen in all its grandeur in this epic-scale adventure. In 1193 B.C., Paris, Prince of Troy (Orlando Bloom), has fallen in love; however, the beautiful woman who has beguiled him is Helen, Queen of Sparta (Diane Kruger), who is wed to King Menelaus (Brendan Gleeson). While Helen is hardly immune to Paris' charms, this doesn't blunt Menelaus' fury when Paris steals her away from him. Menelaus' brother Agamemnon (Brian Cox), the power-hungry king of the Mycenaeans, is eager to expand his empire through Troy to the lands of the Aegean Sea, and he uses Paris' romantic slight against Menelaus as an excuse to wage an all-out war against the great walled city. Priam, King of Troy (Peter O'Toole), summons his armies, led by Prince Hector (Eric Bana), to meet the onslaught of Agamemnon's forces, but while the great city has yet to yield in a battle, Agamemnon has a formidable ally -- Achilles (Brad Pitt), a mighty and seemingly unstoppable warrior whose presence could tip the scales in Agamemnon's favor. Sean Bean, Julie Christie, Saffron Burrows, and Rose Byrne highlight the film's supporting cast. ~ Mark Deming, Rovi

Iconoclastic director Peter Greenaway begins his most ambitious project to date with this feature, the first in a proposed series of films, television programs, and multimedia projects that examine the contents of 92 suitcases, each revealed by title character Tulse Henry Purcel Luper. Broken into three sections spanning 1928 to 1940, The Tulse Luper Suitcases: Part One follows our young hero from age 10, when he is reprimanded by his father for scrawling some graffiti on a wall in his desolate South Wales neighborhood. Years later, Tulse (JJ Field) is a desert explorer who winds up being further punished by the aptly-named dominatrix Passion Hockmeister (Caroline Dhavernas). Finally, in the film's last section, Tulse is in Antwerp at the start of World War II, where he ends up being imprisoned by Nazis. Told in a fractured, non-narrative style, The Tulse Luper Suitcases also incorporates many inter-titles, superimposed images, an ever-present narrator presented in a picture-within-picture format, intentionally fake-looking sets, and many, many references to other Greenaway films and characters. ~ Michael Hastings, Rovi

Terror is lurking online in this thriller directed by William Malone, who also helmed the 1999 remake of House on Haunted Hill. Mike Reilly (Stephen Dorff) is a NYPD detective who has been assigned to look into a string of murders which have taken place in Manhattan, with Terry Houston (Natascha McElhone), a researcher from the city Department of Health, lending her assistance whether Reilly likes it or not. Reilly discovers that all four victims have one thing in common -- they were all men who logged on to the same Internet website exactly 48 hours before they were killed. It seems the website features a sexy woman offering kinky fun to those who enter her domain, but clicking the wrong icon takes users on a journey into fear. Reilly decides the only way to find out the truth is to head into the website and find out what follows for the next two days -- if he can make it out alive. Fear dot com also stars Stephen Rea, Jeffrey Combs, and Udo Kier. ~ Mark Deming, Rovi

A fanciful retelling of the story of Napoleon Bonaparte (played by heralded actor Ian Holm, this British costume comedy suggests that it was Napoleon's double, not the man himself, who died on St. Helena Island. The film begins by presenting Napoleon after his defeat at Waterloo, at the home of a young boy (Tom Watson), where he watches a slide show of his actions and begins to tell his story. The film flashes back to Napoleon's six years of house arrest, when he dictated his memoirs to an aide (Murray Melvin). He has concocted a scheme with his sidekicks Montholon (Nigel Terry) and Bertrand (Hugh Bonneville) and a valet named Marchand (Eddie Marsan) to plant a double in his place so he can escape to Paris, where he can then reclaim his throne as emperor of France. Posing as a galley hand, Napoleon steals a ship, but mistakenly arrives in Belgium, where he must then make his way back to France by barge. When he finally arrives in Paris, he discovers his contact, Truchaut, has died, and he enlists the help of his widow Pumpkin (played by Mifune's Iben Hjelje). Unable to reveal his true identity, Napoleon kills time by using Pumpkin and other supporters to start a profitable business, and Pumpkin begins to find herself drawn to Napoleon, though knowing his real identity. The film was directed by American filmmaker Alan Taylor, who helmed the quirky 1995 comedy Palookaville. ~ Jason Clark, Rovi

In medieval Paris, a deformed foundling named Quasimodo grows up under the care and tutelage of Dom Claude Frollo, the archdeacon of the Cathedral of Notre Dame. Quasimodo is humpbacked, lame, and blind in a drooping eye -- a human gargoyle who keeps to the shadows of the great church as its bellringer. But the tolling bells inflict upon him another handicap: deafness. On the Festival of Fools in the cathedral square, a crowd elects Quasimodo King of Fools, and a wag quips that the hunchback's attributes qualify him to become King of France. During the festival, a Gypsy woman of transcendent beauty, Esmeralda, dances for the crowd. Watching her sultry undulations from a cathedral niche, Frollo falls in lust with her. Quasimodo, too, is captivated by her, but in a childlike, innocent way. Though Frollo is a priest committed to celibacy, he decides he must possess Esmeralda, even at the expense of his immortal soul. But after realizing she is beyond his reach, he promotes her execution for a crime she did not commit. When the noose closes around her neck, Quasimodo swoops down on a rope from the façade of the church and rescues her, then ensconces her in the bell tower. The film concludes when mobs storm the church and Quasimodo defends it, believing the attackers will harm Esmeralda. ~ Mike Cummings, Rovi

John Glen directed this throwback to the costume dramas of the 1930s and 1940s, but without a smidgen of their energy and verve. George Corraface plays Christopher Columbus as a dynamic and muscular comic-book hero. He has a dream to set sail to find a new passageway to India, but he needs the backing of the Spanish government to do it. First, he must undergo a grilling by Tomas de Torquemada (Marlon Brando in, hands down, his worst performance). After passing muster with Torquemada, he gets the blessing of Queen Isabella (Rachel Ward) and King Ferdinand (Tom Selleck). Columbus then sets sail in a series of picture-postcard travelogue shots as he sails the ocean blue and discovers a new world of wonders -- particularly the Indian chief's well-endowed daughter. As a sop to revisionists, a rat is seen scampering down the plank as Columbus' vessel lands on "undiscovered" turf. ~ Paul Brenner, Rovi

This five-part British drama series starred Nigel Terry as John Fairling, a special investigator for the Home Office. It was Fairling's task to track down a renegade research psychologist who harbored a yen for all things electronic. The villain intended to infect all communications in the U.K. with a vicious computer virus -- but not if Fairling was able to de-bug the bugger. An early example of the TV techno-thriller genre, Wipe Out first aired in 1989. ~ Hal Erickson, Rovi

British filmmaker Derek Jarman combines his standard erotic imagery with innovative documentary techniques in his Last of England. The film traces the decline and fall of Britain as seen from the vantage points of London and Belfast. Old home movies, newly shot hand-held 8 millimeter photography, "straight" newsreel-style footage and a barrage of familiar music and street sounds all combine to create a jaw-dropping mosaic of apocalyptic allusions. Obviously not geared to everyone's taste, Last of England is an eloquent cry of anguish from one of the most accomplished British filmmakers of the 1980s. Jarman also wrote the book on which this film is based. ~ Hal Erickson, Rovi

New Zealand educator Sylvia Ashton-Warner (played by Eleanor David) is the subject of this informative and slightly uneven biography, based on the events in Ashton-Warner's adult life. During the 1930s Ashton-Warner moves to a remote village with her husband who has been appointed to be the headmaster in the school there. She tries to teach the Maori children but is having absolutely no luck at all -- that is especially discouraging considering that she is also fighting off culture shock and the effects of a recent emotional breakdown. Driven to find some solace in music, painting, and sculpting, she one day realizes she can use these types of creative activities as teaching tools -- and begins to develop an innovative way to reach her students. She is surprisingly successful, a fact which does not interest the all-male administrators at the school who insist she teach using traditional methods. The stand-off is severe enough that the men burn the manuscript for a new primer Ashton-Warner wrote, insisting later that this was an accident. No one seems to have come out a winner in Sylvia Ashton-Warner's battle with the provincial educators, least of all the students. ~ Eleanor Mannikka, Rovi

Windsor is a peaceful town on the Thames where hardly a leaf falls to disturb the silence. And then England's most notorious mischief maker, Sir John Falstaff (Richard Griffiths), arrives from London with his hooligans -- Bardolph (Gordon Gostelow), Nym (Michael Robbins), and Pistol (Nigel Terry) -- to steal and make merry. After breaking into a lodge and killing a deer on private land, they arouse the wrath of the locals. But quick tongues and pleadings of innocence exonerate them and even earn Falstaff a meal at the home of George Page (Bryan Marshall), a Windsor gentleman. There, Falstaff converses with Mrs. Page (Prunella Scales) and her neighbor, Mrs. Ford (Judy Davis), both of whom rule the purse strings of their households. Falstaff then decides to woo both women and charm them free of their money. But after he writes them a love letter -- the same letter word-for-word except for the name of the addressee -- the two "merry wives" compare letters and decide to give Sir John his comeuppance. Meanwhile, Mr. Ford (Ben Kingsley) gets wind of Falstaff's designs on his wife and, riven with jealousy, plots to surprise Falstaff when he comes calling. Scenes ensue in which Mr. Ford bursts through his front door in an attempt to discover Falstaff. The tee-heeing wives couldn't be happier, for these occasions give them a chance to humiliate Falstaff -- once by having him hide in a laundry basket which is dumped in the muddy Thames and another time by dressing as "the fat woman of Brentford." A subplot follows three men as they woo Mrs. Page's lovely daughter, Anne (Miranda Foster). In the end, Falstaff acknowledges his bad behavior, Anne Page gets her man, and good feelings abound. ~ Mike Cummings, Rovi

The year is 1183. Like many a modern-day politician, Britain's King Henry II (Peter O'Toole) finds it occasionally useful to take his wife out of mothballs and parade her before the public. Henry's Queen Eleanor (Katharine Hepburn), long exiled to a faraway castle, is "invited" to join Henry and their three sons for a family reunion. In this way, Henry hopes to maintain a stronghold on his Empire and to prevent the balance of power from shifting to Eleanor or to one of his sons: Richard the Lion-Hearted (Anthony Hopkins in his movie debut), Prince Geoffrey (John Castle), or Prince John (Nigel Terry). Also on hand for the get-together is Henry's mistress Princess Alais (Jane Merrow) -- who covets the King's influence -- and the Princess' brother, King Philip of France (Timothy Dalton). Despite Henry's efforts to keep his wife and offspring at arms' length (and away from the throne), Eleanor successfully reunites the brood, assuring that her power will not only be restored, but will last long after her death. ~ Hal Erickson, Rovi