Alec Mills Movies

British television's adaptation of Catherine Cookson's novel, The Moth was set during the Edwardian era. Jack Davenport starred as carpenter Robert Bradley, who found himself in the employ of the wealthy and aristocratic Thorman family. When Robert fell in love with the beautiful Sarah Thorman (Juliet Aubrey), he ran up against the stern opposition of the parents -- not only Sarah's mother and father, but also his own. The Moth was presented in three 50-minute segments by Tyne Tees television in 1997. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Adapted from true events, this Australian production concerns a nurse (Linda Blair) who works at a psychiatric hospital. She gradually discovers the grisly truth about a head doctor (Tony Bonner) who performs rather suspect operations on comatose patients. ~ John Bush, All Movie Guide

Timothy Dalton is better in Licence to Kill than in his first James Bond endeavor (The Living Daylights), but he still seems uncomfortable on the right side of the law. This time around, Bond is working on his own rather than on behalf of the British Secret Service. His American friend Felix Leiter (David Hedison), an agent of the Drug Enforcement Administration, has been seriously injured by drug dealer Robert Davi, and 007 is out for blood. There is precious little time for the usual Bondian quippery and directorial campiness, resulting in a marked increase in bloodletting (including the "implosion" of secondary villain Anthony Zerbe). A climactic highway chase involving an oil tanker and a helicopter is stretched slightly beyond its value, but is still one of the best action setpieces in any Bond film. Licence to Kill was a refreshingly serious change of pace for the series, albeit one that tended to lessen Bond's box-office value. ~ Hal Erickson, All Movie Guide

The Living Daylights represents the first appearance by Timothy Dalton as "Bond...James Bond." Based very, very loosely on an obscure Ian Fleming short story, the film finds Bond assigned to aid in the defection of KGB agent Jeroen Krabbe. 007 must prevent an unknown sniper from killing Krabbe before he can reach the West. The mysterious assailant turns out to be the luscious Maryam d'Abo, who like practically everyone in the film except Bond is Not All That She Seems. The plot wends its way through a scheme to trade several million dollars' worth of diamonds for weapons, which will be shipped off to mercenaries worldwide. The climax takes place high above the clouds in a cargo plane loaded with opium. Dalton would play Bond one more time in License to Kill (1989) before handing the franchise over to Pierce Brosnan. ~ Hal Erickson, All Movie Guide

Pandering über-producer Dino De Laurentiis followed his unnecessary 1976 remake of King Kong with this even more pointless sequel ten years later. Though the colossal ape Kong took a half-gainer off the World Trade Center for Jessica Lange at the previous film's climax, we are told at the sequel's outset that Kong survived and is being kept alive through artificial means by a secret scientific team (headed by Linda Hamilton in her pre-action-heroine days) dedicated to designing a synthetic replacement heart. When the hilariously huge device is deemed ready for implant, the scientists seek out the only known donor for the requisite blood transfusion: a female Kong, recently captured in Borneo by adventurer Brian Kerwin. Kong's luck turns out to be twofold: not only is the implant a success, the big lug now has a potential mate who's more his type. After Kong rescues his fellow captive, the amorous behemoths eventually thunder off to the mountains to make a great big baby. Director John Guillermin (who helmed the previous film) plays the unbelievably silly premise absolutely straight, including a hilarious heart-transplant scene featuring surgical tools the size of freeway signs, leading viewers to believe that the joke's on them for sitting through this inane exercise. ~ Cavett Binion, All Movie Guide

In this slow, melancholy film, Biddy (Celia Bannerman) is a wise and loving nanny, imparting the lessons of life to her charges through poetry and homily, but after she grows older, the children she nurtured do not write letters or visit, leaving her a lonely, elderly woman. Engrossing at the beginning as Biddy and the children interact in a bygone, late 19th-century world, interest starts to flag a little when the woman ages and is on her own. ~ Eleanor Mannikka, All Movie Guide

It wasn't as well received at the box office as the pictures that preceded it or followed it, but Peter Hunt's On Her Majesty's Secret Service was the finest of the James Bond movies and also arguably the last truly great movie in the series. James Bond, portrayed here by George Lazenby (in his only performance in the role) has spent nearly two years trying to track down Ernst Stavro Blofeld (Telly Savalas), the head of SPECTRE. He has been taken off the case by his chief (Bernard Lee), an action the pushes him to the point of considering resigning from Her Majesty's Secret Service, just as he opens a possible new avenue of attack on his quarry. Whilst in the field, Bond has chanced to cross paths with the Contessa Teresa Di Vicenzo (Diana Rigg), a beautiful but desperately unhappy woman, whom he rescues from one apparent suicide attempt and an embarrassing moment at a casino gaming table -- the Contessa, who prefers to be called Tracy ("Teresa was a saint"), is the daughter of Marc Ange Draco (Gabriele Ferzetti), an industrial and construction magnate and also a crime boss, who is impressed with Bond personally as well as professionally, and would like to see him marry his daughter. Bond is, at first, unwilling to involve himself with a woman -- any woman -- on that level, but Draco's underworld contacts give Bond a vital clue to Blofeld's whereabouts that get him back on the case and hot on the man's trail. Journeying incognito to Blofeld's mountaintop retreat in the Swiss Alps, Bond finds the criminal mastermind posing as a would-be nobleman and also as a philanthropist, running a clinic devoted to the treatment and eradication of allergies. It's all a front for a surprisingly sinister (and scientifically valid) plot for international blackmail that would make any previous Bond villain quake in fear. And in the process of staying alive long enough to have a chance of stopping Blofeld, Bond discovers the Tracy is truly like no woman he's ever known before -- one special enough that he finds himself willing to give up his life as a free-living, free-loving bachelor. ~ Bruce Eder, All Movie Guide