Michael Radford Movies

Il Postino director Michael Radford takes the helm for this comedy drama set during the waning days of Spanish Civil War and centering on a soldier who, after finding a mule on the battlefield, travels through the countryside with the animal while attempting to make sense of the chaos that surrounds him. ~ Jason Buchanan, Rovi

Michael Radford (Il Postino and The Merchant of Venice) directs screenwriter Edward Anderson's script about an aging janitor and an American executive who form an unlikely alliance in order to carry out an elaborate jewel heist. Set in 1960s-era London, the tense crime thriller stars Michael Caine as the scheming maintenance man who longs to relieve his employers at the London Diamond Corporation of their valuable inventory, and Demi Moore as the savvy executive who is completely perplexed by the wealthy diamond magnates. ~ Jason Buchanan, Rovi

Eight master directors of world cinema combine forces for this omnibus film that focuses cumulatively on the subject of time. Bookended by cello interludes, Ten Minutes Older: The Cello presents just one parameter to each of its filmmakers: no final entry can be more or less than ten minutes long. The resulting films run the gamut of styles and moods, beginning with Bernardo Bertolucci's Histoire d'Eaux, which presents an Indian fable about a mentor's impatience. In Mike Figgis' entry About Time 2, the director continues with the experimental structure he pioneered in Timecode; similarly, Jean-Luc Godard uses his time allotment to present a fractured series of clips on youth, death, and love. Another non-narrative entry, Volker Schlöndorff's The Enlightenment presents a series of images on racism. Claire Denis' effort Vers Nancy chronicles a philosophical discussion on time between a teacher and student on a train ride; in Jirí Menzel's Ten Minutes After, the effects of time on aging Czech actor Rudolf Hrusinsky are documented. In perhaps the film's most narrative-oriented segment, director Michael Radford offers up a sci-fi vision of an astronaut returning to earth to find that his son has aged faster than he has. Ten Minutes Older: The Cello is a companion piece to 2002's Ten Minutes Older: The Trumpet, which aired in the U.S. on the Showtime cable network. ~ Michael Hastings, Rovi

In this witty romantic thriller, Alan (Jared Harris) is a London schoolteacher who leads a quiet, mildly stuffy life. As a hobby, he serves as a jazz disc jockey, spinning tunes for a hospital's public address system, but he craves danger and excitement. One night, Alan stops into a bar for a drink and sees Beatrice (Asia Argento), a beautiful woman who is arguing with two men. Alan is immediately enraptured by Beatrice and begins to pursue her. What Alan doesn't know is that Beatrice is an infamous thief known to the police as "B. Monkey" (named for her ability to break into anything), and the men she was quarreling with were Paul (Rupert Everett) and Bruno (Jonathan Rhys Meyers), a gay couple who are her partners in crime. When Alan becomes aware of Beatrice's secret, he tries to lead her into a safer and more honest way of life, even as she lures him into the thrilling existence he's been dreaming of. Leading lady Asia Argento is the daughter of Italian horror auteur Dario Argento. ~ Mark Deming, Rovi

In this remake of the 1983 Ardiente Paciencia by Antonio Skarmeta, the time and place have been changed to Italy in the 1950s, but the relationship between the Chilean Nobel Prize-winning poet Pablo Neruda and Mario (Massimo Troisi), the postman who delivers his copious mail, is still the focus of attention. In this version of the story, scripted by a collective of Anna Pavignano, the director Michael Radford, Troisi himself, and a few others (based on Skarmeta's original story), Neruda is an aloof and slightly elitist figure who is seeking solitude on an island off the coast of Italy, taking a respite from political problems at home. Mario is a poet at heart and employs every measure he is capable of inventing to win his way into the affections and attention of the great author. As his efforts start to bear fruit and Neruda unbends and begins to share conversation and philosophy with Mario, the postman idolizes the poet all the more. Eventually, Neruda shares his leftist political philosophy as well -- and helps him win over the captivating Beatrice, the woman of Mario's dreams. When Neruda leaves, Mario enters into high gear as he prepares material for the next time he sees Neruda -- his ardor and patience, alluded to in the original title -- are essentially indestructible. (Massimo Troisi) was fated never to know that Il Postino would receive worldwide acclaim and be nominated for an Oscar for "Best Picture" in 1995 (the first foreign film nominated in that category since Ingmar Bergman's Cries and Whispers 22 years earlier). Suffering from a heart ailment and unable to work more than an hour or two on the filming of Il Postino each day, he died in his sleep at the age of 41, the day after shooting ended on the film. ~ Eleanor Mannikka, Rovi

Directed by British filmmaker Michael Radford, Nineteen Eighty-Four is the second film adaptation of the George Orwell novel. The film is set during April of 1984 in post-atomic war London, the capital city of the repressive totalitarian state of Oceania. Winston Smith (John Hurt) is a government bureaucrat whose job is rewriting history and erasing people from existence. While his co-worker Parsons (Gregor Fisher) seems content to follow the state's laws, Winston starts to write in a secret diary despite the fact the "Big Brother" is watching everyone at all times by way of monitors. He silently suffers and tries to comprehend his oppression, which forbids individual human behaviors such as free thinking and sex. He meets Julia (Suzanna Hamilton), who works for the Ministry of Truth, and they engage in a stoic love affair. They are soon found out, and Winston is interrogated and tortured by his former friend O'Brien (Richard Burton in his final film appearance). ~ Andrea LeVasseur, Rovi

This influential British sketch-comedy series served to make major stars out of two of its three regulars. Debuting July 1, 1981 on BBC1, Three of a Kind was a showcase for the versatile Tracey Ullman, Lenny Henry, and David Copperfield (not the magician). Although Ullman was a woman and Henry was black, the series was refreshingly free of sexist and racist humor, relying instead upon quickie, non sequitur satirical sketches and quirky characterizations. The laughs were sustained by a special effect called "Gagfax," in which jokes were printed onscreen in the manner of a breaking news bulletin (a device borrowed from America's Rowan and Martin's Laugh-In, and later streamlined as the now-familiar "pop-ups" seen on VH1 and other cable services). Running two seasons and 17 episodes, plus one special, Three of a Kind enabled Tracey Ullman to launch her own weekly series on America's Fox Network, and transformed Lenny Henry into a virtual cult figure. Curiously, David Copperfield never quite attained the career heights of his costars, even though he was a talented performer in his own right. The final episode of Three of a Kind aired on October 8, 1983. ~ Hal Erickson, Rovi