Evan Jones Movies

Based on a best-selling novel, this drama, set amongst a remote Eskimo tribe in 1935, was -- at the time it was produced -- the most expensive Canadian motion picture ever made, with a budget of $31 million. Lou Diamond Phillips stars as Agaguk, the rebellious son of tribal leader Kroomak (Toshiro Mifune). The two men disagree strongly over the growing presence of white men in the area. Agaguk wants nothing to do with the interlopers, while his father has opened a fur trade with one of them, Brown (Bernard-Pierre Donnadieu). Agaguk and Kroomak also clash over Igiyook (Jennifer Tilly), a beautiful woman whom both men want to marry, but Agaguk wins her hand. After he slays Brown in an argument, Agaguk is cursed and cast out of the tribe by his father. Agaguk takes Igiyook into the wilderness and struggles to survive there as she gives birth to a child, while Henderson (Donald Sutherland), a lawman, shows up to investigate Brown's death. ~ Karl Williams, All Movie Guide

Tim Burstall directed this adaptation of D.H. Lawrence's semi-autobiographical novel recalling his experiences in Australia in the early 1920s. The film, set at the height of World War I, begins at the English coastal home of writer Richard Somers (Colin Friels) and his German-born wife Harriet (Judy Davis). Since Somers is a conscientious objector and his wife is the nationality of the enemy, the British police pay him a visit. Somers is then drafted and undergoes a humiliating physical examination at the draft board. Seeing harassment in the air, Somers and his wife decide to leave England for the relative calm of Australia, where their neighbors are a pair of earthy suburbanites, Vicki (Julie Nihil) and Jack Calcott (John Walton). Jack, disillusioned by the war, has joined a fascist paramilitary group called the Diggers, led by a wealthy old general with the code name "Kangaroo" (Hugh Keays-Byrne). The Diggers want to stifle the emerging union movement in the country, and Kangaroo hopes to enlist Richard in the cause because "a country does not exist until it has found a voice." But Somers finds himself torn between opposing camps, since the Socialist trade unionists also want to utilize his writing skills for their own ends, looking for Somers to help them carry through "a partnership between poetry and power." ~ Paul Brenner, All Movie Guide

This amateurish backwoods horror opus finds a quartet of annoying California campers embarking on an idyllic mountain getaway, only to be terrorized by a cave-dwelling cannibal cracker (Michael Brody) who, it turns out, is himself plagued by the ghosts of his murdered wife and children (as revealed in flashback). Undoubtedly disgusted by Daddy's unpleasant eating habits, the ghosts conspire to end the killer redneck's reign of terror before he murders again. Viewers will probably find themselves wishing the same upon the filmmakers. A lifeless hodgepodge of Deliverance, The Hills Have Eyes and Friday the 13th, this cheap direct-to-video project waffles between horror and black comedy, failing completely on both counts. ~ Cavett Binion, All Movie Guide

Director Donald Crombie's fourth feature tackles the problem of out-of-control redevelopment by unscrupulous corporate developers. Angel Street is a row of charming and quaint homes on the shore of Australia's Sydney Harbor. A development company wants to buy the homes, raze the street, and build high-rise apartments in their wake. When B.C. Simmonds (Alexander Archdale), the leader of the residents' group, dies under mysterious circumstances, his daughter Jessica (Liz Alexander) takes up the residents' cause against the developers, assisted by Elliot (John Hargreaves), the Communist union official with whom Jessica had a brief affair. It turns out that the developers are not just businessmen, but have a malevolent connection with the government. ~ Paul Brenner, All Movie Guide

Night Watch a suspenseful, under-rated thriller tells the story of a lonely, unhappily married woman who believes that she sees a murder committed in the deserted house across her courtyard. Ellen Wheeler (Elizabeth Taylor) spends her nights alone, drinking, wandering around her living room, and looking out the window. One night she witnesses a murder. She calls the police, who investigate, but find nothing. Her husband John (Laurence Harvey) believes that she has imagined the entire thing, but her friend Sarah (Billie Whitelaw), while skeptical, is sympathetic to her deeply troubled friend. Director Brian G. Hutton fills the film with a number of distracting red-herrings and directs with a leisurely pace which tends to lessen the suspense. However, Taylor is splendid in the central role of a woman who seems to be on the verge of a nervous breakdown, and she creates a sympathetic believable character. Laurence Harvey, in his final performance, is less effective but is believable as the neglectful, emotionally abusive husband. Night Watch has a bloody, surprise ending, which while stretching credibility, is perfectly in keeping with the melodramatic intensity created by Taylor. Night Watch, reminiscent in some respect of Gaslight will be of interest to fans of Elizabeth Taylor and should entertain any fan of psychological thrillers. ~ Linda Rasmussen, All Movie Guide

A black Jamaican lawyer shares an apartment with a liberal white man in Two Gentlemen Sharing. Andrew (Hal Frederick), the lawyer, longs to become part of London's middle class while Roddy (Robin Phillips) is the waspish advertising executive who wishes to escape the problems caused by his middle-class upbringing. Both share their views and outlooks on life. Andrew has a difficult time fitting in to the conservative traditions of a prejudiced London, and Roddy finds out his girlfriend has a black stepfather. Roddy is disillusioned when he is not accepted by the black world, and Andrew comes to the realization that he will never be welcomed in the still-racist business community of London. Both men contemplate changes for their lives in this situation comedy with dramatic social insights to race relations and prejudice. ~ Dan Pavlides, All Movie Guide

A popular British comic strip series served as inspiration for this light-hearted espionage adventure, which if nothing else certainly shows the marks of its origins in the mid-1960s. A large departure for director Joseph Losey, better known for brooding interpretations of Harold Pinter works (The Servant, Accident), the film is emphatically bright and colorful, taking on at times a nearly psychedelic feel. The strangeness is emphasized by the unusual casting, including Italian star Monica Vitti in her first English-speaking role as the title character and Dirk Bogarde, playing against type as her arch-nemesis. Essentially everything is played for its camp value, including the rather convoluted, James Bond-like plot, which concerns the hijacking of a shipment of diamonds heading for the Middle East. Like its mod-era sets and costumes, this unusual, inconsistent effort is certainly intriguing and attractive, but might seem rather dated to some. ~ Judd Blaise, All Movie Guide

Joseph Losey directed this unusual science fiction effort, which has won a small but fervent cult following. Simon Wells (MacDonald Carey) is an American visiting England, where he meets a woman named Joan (Shirley Ann Field). Simon is immediately attracted to Joan, but there's a considerable obstacle in their budding romance: Joan's brother King (Oliver Reed), the leader of a violent pack of motorcycle rockers. King has a barely concealed incestuous attachment to his sister, and he sometimes uses her to lure victims into his gang's clutches. King and his cronies attack Simon, take his money, and leave him stranded, where he's eventually found by a pair of military security men. Simon is brought to the home of Bernard (Alexander Knox), a scientist working on a secret project for the government, and his girlfriend Freya (Viveca Lindfors), a sculptor. Joan eventually tracks Simon down in hopes of winning his forgiveness, but another run-in with King causes Simon and Joan to discover a cave that holds a terrible secret: a group of strange, cold-blooded children who were the products of one of Bernard's experiments gone wrong. The children were genetically engineered to survive a nuclear war, and, as a result, they are radioactive enough to kill anyone who comes in close contact with them. Controversial in its day, The Damned was produced in England in 1961 but was not released until 1963, when Hammer Films booked it as the second-half of a double bill with Maniac. It did not reach American screens until 1965, when it was shown under the title These Are the Damned. ~ Mark Deming, All Movie Guide