Gareth Milne Movies

In this adventure-filled sequel to the 2004 blockbuster National Treasure, Nicolas Cage reprises his role as artifact hunter and archaeologist extraordinaire Ben Franklin Gates. In this outing, Gates learns of his own family's implication in the assassination of Abraham Lincoln by John Wilkes Booth. Gates must then locate an elusive diary, not only to clear his family's name, but to unearth and connect several secrets, buried within the book, that point to a massive, global conspiracy. The film co-stars Jon Voight, Harvey Keitel, and Helen Mirren as Ben's mother. Jerry Bruckheimer returns as producer. ~ Nathan Southern, All Movie Guide

This nutty British comedy observes with jet-black humor the myriad outrageous calamities that befall an eccentric English clan with more than a few skeletons in its closets when its patriarch dies an unexpected death. Soon, every complication imaginable -- including the wrong corpse in the coffin, the accidental consumption of hallucinogenic drugs, and the disclosure of the deceased's closeted homosexuality -- befall the grief-stricken mourners. The funeral commences at the family estate, with the arrival of younger son Daniel (Matthew MacFadyen), who has long felt uncomfortable around his cocky, licentious novelist brother, Robert (Rupert Graves) -- and thus dreads seeing him. Meanwhile, Daniel is also struggling to adhere to promises he's made to his wife (Keeley Hawes). Also arriving at the house are cousin Martha (Daisy Donovan) and her intended, Simon (Alan Tudyk), who embarrasses just about everybody, including himself, by accidentally consuming a strange drug that inflicts him with wild delusions and gives him an uncontrollable penchant for exhibitionism. But the event that truly turns the family members onto their ears is the arrival of a dwarf (Peter Dinklage) who speaks openly of the patriarch's secret passions, which included dressing up in a kinky gladiator outfit and watching young men skinny-dip. Frank Oz (In & Out, Bowfinger) helmed the film, while Dean Craig authored the script. ~ Nathan Southern, All Movie Guide

It's the weight of tradition versus youthful vigor when loudmouth Torquay lawn bowling superstar Cliff Starkey (Paul Kaye) catches wind of an upcoming championship match between England and heated rivals Australia. He's determined to make the national team in a bid to bring his sport-of-choice into the new millennium. Quickly acquiring a flashy American agent (Vince Vaughn) and becoming the most popular player in England, Cliff vows to dethrone traditionalist champion Ray Speight (James Cromwell), who has made no secret his hatred of Cliff's brash showmanship. When Cliff starts seeing Ray's daughter, the competition really begins to heat up. ~ Jason Buchanan, All Movie Guide

This digital-video biopic uses the life of journalist, record mogul and club owner Tony Wilson to frame the story of the Manchester, England, music scene from the heyday of punk through the late-'80s "Madchester" era. As the founder of staunchly independent Factory Records, Wilson (Steve Coogan) shepherded the careers of doomed post-punk combo Joy Division, synth-pop superstars New Order and hedonistic louts the Happy Mondays. Along the way, he helped bring rave culture to Britain under the aegis of the legendary Hacienda nightclub. 24 Hour Party People follows Wilson from his conversion to punk at a seminal Sex Pistols concert through the suicide of Joy Division singer Ian Curtis, the overwhelming success of New Order and the eventual dissolution of the Factory empire thanks to bad business decisions, underworld ties and the hedonistic excess of the Happy Mondays. Directed by Michael Winterbottom and written by frequent collaborator Frank Cottrell Boyce, 24 Hour Party People features cameos from a large number of Manchester music luminaries. The supporting cast includes Shirley Henderson and John Simm, both of whom appeared in Winterbottom's Wonderland, while the film's title comes from a Happy Mondays song. ~ Brian J. Dillard, All Movie Guide

Glenn Close goes to the dogs once again in this sequel to 101 Dalmatians, Disney's 1996 live-action adaptation of their beloved animated classic. After three years in prison, Cruella De Vil (Close) is judged to have paid her debt to society and is set free, as she pledges to have nothing to do with animal fur (especially dogs) ever again. Meanwhile, Kevin (Ioan Gruffudd) operates an animal shelter that has fallen on hard times; unless he's able to find new financial support, the lost dogs he's been caring for will have nowhere to go. Kevin and his girlfriend Chloe (Alice Evans), who happens to be Cruella's parole officer, get the idea of bringing their plight to the people through the press, but media reports of the shelter's problems attract an unlikely benefactor -- Cruella. While Ms. De Vil claims the purest of intentions, it seems the shelter is housing a large number of dalmatians, and in cahoots with mad fashion designer Monsieur Le Pelt (Gérard Depardieu), she plans to turn the puppies into haute couture. 102 Dalmatians was the first live-action feature for director Kevin Lima, who previously helmed two animated features for Disney, A Goofy Movie and Tarzan. ~ Mark Deming, All Movie Guide

Patsy Kensit stars in Don Boyd's distaff version of Alfie, with Kensit playing 21-year-old Katie, an attractive and self-absorbed Londoner who has just reached this milestone of an age and is trying to make some sense out of it. Until now, Katie has enjoyed life and all its pleasures without thinking too much about it. But, as she speaks to the camera, she reflects upon the men in her life and wonders if she has made all the right romantic decisions. There is Bobby (Rufus Sewell), her charming Scottish boyfriend, who has a propensity for slipping off to the bathroom for a heroin fix. And then there is Jack (Patrick Ryecart), another lover, whose sad-eyed demeanor belies his lack of sexual excitement. So what should Katie do about her beaux, particularly when she is preparing to move to New York? ~ Paul Brenner, All Movie Guide

Innocent Victim is a psychological thriller based on the Ruth Rendell novel Tree of Hands. London based, best-selling author, Benet (Helen Shaver), who has just written a controversial novel, lives alone with her young son. Benet's mother, Marsha (Lauren Becall), visiting from the United States, is a manic-depressive who has psychotic episodes. When Benet's young son dies, Marsha kidnaps a local child to serve as a substitute. Benet believes she should return the child but upon investigation she finds out that the child has been severely abused by his parents. After the child's disappearance, the parents are charged with the murder. A more skillful filmmaker might have dealt, as the novel does, with the moral issues of guilt and responsibility and the terrible moral dilemma faced by Benet. Instead, director Giles Foster presents the film in a rather straightforward, nonjudgmental fashion which allows for little character growth and diminishes the impact of what should be an ironic and disturbing ending. Innocent Victim, while at times compelling, and based on an interesting premise, would have been a memorable film if Foster had taken more chances and pushed his actors to give the performances that they are capable of but here are only hinted at. ~ Linda Rasmussen, All Movie Guide

The Queen of Hearts is an essentially Italian story given full and proper treatment by a virtually all-British crew. Anita Zagaria plays a lovely Italian lass, consigned to an arranged marriage with a wealthy Sicilian man. She balks at the altar and runs off, while the jilted bridegroom swears revenge. She marries another Italian (Joseph Long), and together they set up the quaint "Lucky Cafe" in the middle of London. Though the family vendetta that results from this union has its unfortunate consequences, there are quite a few laughs along the way as well. The Queen of Hearts was directed by Jon Amiel, best known for his handling of the quirky TV serial The Singing Detective. ~ Hal Erickson, All Movie Guide

Eleven-year-old Charlotte Burke, the neglected daughter of Ben Cross and Glenne Headley, passes out on the school playground and dreams of visiting a house she'd previously drawn in her composition book. She imagines another visit to her "paper house" while playing hide-and-seek. Experimenting, Burke draws a figure in the window of the house; the next time she dreams, she meets a young boy, as lonely as she. Convinced that she wields a large degree of power in her pencil, Burke draws a picture of her father, Cross, hoping that in doing so he will return home. But Burke is dissatisfied with the picture, and crosses it out--whereupon Cross shows up in her dreams as a murderous stalker. What happens next is a maelstrom of psychological horror, told completely from the child's point of view. Paperhouse is based on Marianne Dreams a novel by Catherine Storr. ~ Hal Erickson, All Movie Guide

This uninspiring drama was unfortunately the last feature film directed by Richard Marquard and was released posthumously. Bob Dylan plays the retired and reclusive rock star (there's a stretch) Billy Parker who falls for aspiring rocker Molly McGuire (Fiona) and takes her under his wing on his tour of England to benefit from his experience. When Molly is "discovered" by lecherous music promoter James Colt (Rupert Everett), Billy flies the coop back to his stateside chicken farm while Molly makes music magic. Billy and Molly are eventually reunited when she returns for a triumphant tour of the United States. Songs from Dylan, Neil Young, Shel Silverstein, Andy Goldmark, Tony Swan, Wang Chung, John Dexter, Cyril Neville, John Hiatt, and Steve Jolley help the thin script and uninspired thesping. The film opens up with the 1982 hit Tainted Love from Soft Cell. Musicians Ian Dury and Richie Havens are included in the acting cast. One can only wonder if the feature was just wrapped up too quickly after the untimely death of Marquand from a stroke at age 49 on September 4th, 1987. ~ Dan Pavlides, All Movie Guide

Anthony Hopkins stars in The Good Father as a publishing executive whose wife Julie Walters has left him, taking their son with her. Walking around like a zombie after this blow, Hopkins is brought back to life by involving himself in the profound problems of his friend Jim Broadbent. Feeling that his misguided pro-feminist stance has caused him all his trouble, Hopkins encourages Broadbent, whose own wife is leaving him with their son in tow, to fight for custody of the child in court. Hopkins even agrees to finance Broadbent's legal fees. As Broadbent's custody battle intensifies into a bitter, all-out war, Hopkins becomes more relaxed concerning his own domestic difficulties. Allowing Broadbent to be his emotional surrogate, a becalmed Hopkins feels secure enough to try to reconcile with his ex-wife Walters. But she is aware, even if he isn't, that his problems stem not from his relationship with women, but from his resentment of his son, whose birth was the beginning of the end of his marriage. Contrary to the title and his own self-deceptions, Hopkins is not "the good father." The film was scripted by Christopher Hampton from a novel by Peter Prince. ~ Hal Erickson, All Movie Guide

Company of Wolves is Little Red Riding Hood for the Alien generation. Sheltered 13-year-old Sarah Patterson, living on the edge of a foreboding woods, is visited by her grandmother Angela Lansbury. The old lady delights in telling Sarah the most horrific stories, usually involving what happens to little girls if they trust wolves--the actual, rather than symbolic kind. Later on, Sarah sets out through the woods to visit her grandmother. She makes the acquaintance of a seductive young huntsman (Micha Bergese), who turns out to be.....well, what big teeth he's got. The ads for Company of Wolves, showing a wolf springing from the open mouth of poor little Sarah Patterson, were warning enough for the faint of heart. Actually, the horror is secondary to the remarkable Grimms-Fairy-Tale ambience which the film successfully sustains from beginning to end. And, in keeping with the original unexpurgated versions of most fairy tales, the sexual subtext is never far from the surface. Director Neil Jordan would further develop some of the subliminal themes in Company of Wolves in his 1994 production Interview with the Vampire. ~ Hal Erickson, All Movie Guide

Meant to be a whimsical sword-and-sorcery film about a prince out to save his princess from the jaws of the Beast, Krull has enough scenes borrowed from blockbuster predecessors (Raiders of the Lost Ark, E.T., Robin Hood, Star Wars) and is gentle enough to be rather derivative, ordinary fare. Prince Colwyn (Ken Marshall) has inherited a kingdom under siege by the evil Beast, and not only has to rid the land of the monster, but he has to rescue his bride Lyssa (Lysette Anthony) from the Beast's clutches as well. In his magical land, horses can sometimes fly, medieval castles can harbor weapons that light up, and before he can defeat the Beast, the prince has to get his hands on the glaive (French for "double-edged sword"), a razor-sharp, magical weapon capable of killing the monster. One of the more notable aspects of Krull is that a 30-year old Liam Neeson plays the bit part of Kegan, in only his third full-length feature film. ~ Eleanor Mannikka, All Movie Guide