Elliot Scott Movies

In Robert Zemeckis's trailblazing combination of animation and live-action, Hollywood's 1940s cartoon stars are a subjugated minority, living in the ghettolike "Toontown" where their movements are sharply monitored by the human power establishment. The Toons are permitted to perform in a Cotton Club-style nightspot but are forbidden to patronize the joint. One of Toontown's leading citizens, whacked-out Roger Rabbit, is framed for the murder of human nightclub owner Marvin Acme (Stubby Kaye). Private detective Eddie Valiant (Bob Hoskins), whose prejudice against Toons stems from the time that his brother was killed by a falling cartoon piano, reluctantly agrees to clear Roger of the accusation. Most of the sociopolitical undertones of the original novel were weeded out out of the 1988 film version, with emphasis shifted to its basic "evil land developer" plotline --and, more enjoyably, to a stream of eye-popping special effects. With the combined facilities of animator Richard Williams, Disney, Warner Bros., Steven Spielberg's Amblin Entertainment, and George Lucas's Industrial Light and Magic, the film allows us to believe (at least for 90 minutes) that "toons" exist, and that they are capable of interacting with 3-dimensional human beings. Virtually every major cartoon character of the late 1940s shows up, with the exceptions of Felix the Cat and Popeye the Sailor, whose licensees couldn't come to terms with the producers. Of the film's newly minted Toons, the most memorable is Roger Rabbit's curvaceous bride Jessica (voiced, uncredited, by Kathleen Turner). The human element is well-represented by Hoskins, Christopher Lloyd, and Joanna Cassidy; also watch for action-film producer Joel Silver as Roger Rabbit's Tex Avery-style director. ~ Hal Erickson, All Movie Guide

The second of the George Lucas/Steven Spielberg Indiana Jones epics is set a year or so before the events in Raiders of the Lost Ark (1984). After a brief brouhaha involving a precious vial and a wild ride down a raging Himalyan river, Indy (Harrison Ford) gets down to the problem at hand: retrieving a precious gem and several kidnapped young boys on behalf of a remote East Indian village. His companions this time around include a dimbulbed, easily frightened nightclub chanteuse (Kate Capshaw), and a feisty 12-year-old kid named Short Round (Quan Ke Huy). Throughout, the plot takes second place to the thrills, which include a harrowing rollercoaster ride in an abandoned mineshaft and Indy's rescue of the heroine from a ritual sacrifice. There are also a couple of cute references to Raiders of the Lost Ark, notably a funny variation of Indy's shooting of the Sherpa warrior. ~ Hal Erickson, All Movie Guide

Peter Ustinov makes his second appearance as Belgian detective Hercule Poirot in this adaptation of the popular Agatha Christie mystery. When noted stage star Arlena Marshall (Diana Rigg) is found murdered while visiting a posh island resort, Poirot is called upon to find the culprit, but given Marshall's shrewish personality and propensity for making enemies, the question isn't "Who wanted to see her dead?" but "Who didn't?" The suspects include Rex Brewster (Roddy McDowall), a writer penning a biography of Arlena that the actress tried to stop; Odell and Myra Gardener (James Mason and Sylvia Miles), theatrical producers who were financially shafted when Arlena refused to appear in a show; Arlena's husband, Kenneth (Denis Quilley); Kenneth's lover, Daphne (Maggie Smith); Patrick Redfern (Nicholas Clay), who was having an affair with Arlena; and Christine (Jane Birkin), Nicholas' wife. Ustinov would play Poirot again three years later in the made-for-TV feature Thirteen at Dinner. ~ Mark Deming, All Movie Guide

This Disney Studios attempt at entering the horror genre is a British production based on the chilling novel by Florence Engel Randall. An American family, headed by composer Paul Curtis (David McCallum) and his wife Helen (Carroll Baker), is renting an old mansion in England. The mansion's owner is Mrs. Aylwood (Bette Davis), who lives in a small guest house on the property. The mansion is surrounded by dense, forbidding woods. The Curtis children, Jan (Lynn-Holly Johnson) and Ellie (Kyle Richards), explore the forest. Mrs. Aylwood is continually searching the woods for her daughter -- whom she lost there 30 years ago. Over time, the children come to be haunted by the spirit of the daughter, Karen (Katherine Levy). The film was originally released in 1980 with an ending that included a huge alien from another planet. The studio pulled back the film after test audiences laughed at the special effects, and re-released the movie in 1982 with a new ending that circumvented the alien. ~ Michael Betzold, All Movie Guide

Also known as Seven Cities to Atlantis, this is a youth-oriented, British-produced adventure fantasy which uses rather ordinary special effects. In Victorian England, an explorer, Greg Collinson (Doug McClure), leads an unlikely expedition to discover the lost continent of Atlantis. Among the team are scientists Professor Aitken (Donald Boisset) and son Charles (Peter Gilmore). The crew members mutiny, setting their sights on the legendary treasures of Atlantis. The ship is attacked by sea monsters and a giant octopus. Sinking to the bottom of the sea, the explorers find that Atlantis is populated by intelligent beings from another planet who enslave shipwrecked sailors. The aliens' goal is to create a fascist state that will rule the world, and they want to recruit Charles to help them. Delphine (Lea Brodie), the daughter of one of the shipwrecked slaves, helps the heroes find a high priestess, Atsil (Cyd Charisse), who holds the key to their chances of escaping. ~ Michael Betzold, All Movie Guide

Every so often, an actor or actress will achieve a fame which transcends any memory of their work, and he or she becomes synonymous with the word "star." Sarah Bernhardt (1844-1923) was one such person. A commanding performance by Glenda Jackson towers over this episodic drama chronicling the early life of legendary stage actress Bernhardt. The film follows Bernhardt's career trajectory from her early years on the French stage, through a period of celebrity and notoriety, until an early comeback at the age of 35. The film begins when Bernhardt wins a Comedie Francaise audition as a teenager in 1860 and vows, "I shall be the greatest actress that ever lived." What follows is a sampler of the more bizarre aspects of Bernhardt's career -- from giving birth to a nobleman's son out of wedlock, to her proclivity towards sleeping in a coffin, to her insistence on being paid after every performance in gold. Interspersed throughout the film is Jackson as Bernhardt performing excerpts from La Passant, Phedre, La Dame aux Camelias, and King Lear. ~ Paul Brenner, All Movie Guide

The musical Mr. Quilp was based on one of Dickens' grimmest works, The Old Curiosity Shop, which has as its highlight the death of its heroine. The principal character is a villain, a hunchbacked usurer who wishes to take over the business of an antique dealer. Anthony Newley plays the horrid Mr. Quilp, and is also responsible for the music. Mr. Quilp was produced by Readers Digest Magazine. ~ Hal Erickson, All Movie Guide

The second directorial effort from Academy award-winning actor Sidney Poitier, this romantic drama is about widowed American doctor Matt Younger (Poitier) who travels to London with his daughter, Stefanie (Yvette Curtis). There, he meets Catherine (Esther Anderson), the daughter of African Ambassador George Oswandu (Earl Cameron). A romance develops between them, and Dr. Younger realizes that the strange men that follow Catherine around have been hired by her father in order to keep an eye on her sickle cell anemia. ~ Andrea LeVasseur, All Movie Guide

Liv Ullman portrays a female pope -- based on a long-held rumor that the papacy was held by a woman between the reigns of Leo IV and Benedict III -- in this rambling saga directed by Michael Anderson. The British version of the film has been cut, not only removing twenty-one minutes of the film but also an entire contemporary framing story. In the full version, a modern-day woman evangelist, played by Ullman, who feels an affinity to the legendary Pope Joan, pays a visit to her psychiatrist (Keir Dullea). Searching through her past lives to see whether she is the reincarnation of Pope Joan, the film then flashbacks 1000 years to pick up Joan (Ullman in an earlier incarnation of her character) undergoing a succession of trials and tribulations. Joan then meets up with and becomes the mistress of Adrian (Maximilian Schell), a monk with an artistic bent. After the death of Charlemagne when roving bands of Saxons are raping women and ransacking the countryside, Joan flees the country by cutting her hair short and dressing like a man. Together Joan and Adrian escape to Greece. In Greece, Joan's street-corner preaching draws the attention of Pope Leo IV (Trevor Howard), who is impressed by her impassioned rendering of the Gospel. Still disguised as a man, Pope Leo, clueless as to her true sex, hires her as his secretary. From there, she rises up the ladder of the Roman Catholic Church, becoming a cardinal and then Pope Leo's successor. But then she becomes pregnant by a lover from her past (Franco Nero) and Joan must hide her delicate condition from the papal authorities and the rowdy masses. ~ Paul Brenner, All Movie Guide

A fine cast distinguishes this unusual supernatural thriller. When London-based vintner Phillippe de Montfaucon (David Niven) receives the bad news that dry weather is expected to destroy crops in his vineyard in France for the third year in a row, he immediately leaves for his castle on the continent, Bellenac, instructing his wife Catherine (Deborah Kerr) to stay behind with their children. However, Catherine's curiosity gets the better of her and she arrives at Bellenac to discover that the villagers who tend the grapes and watch the castle are members of a pagan cult, and that they believe the death of Marquis may be required for the future health of the crops. While pre-release editing left its narrative a bit fragmented, Eye of the Devil is certainly notable for its cast, which includes Donald Pleasance, Edward Mulhare, David Hemmings, and Sharon Tate. Kim Novak was originally cast as Catherine, but was forced to bow out midway through shooting due to an injury. ~ Mark Deming, All Movie Guide

This big-budget, big-studio espionage film is set in the last years of World War II. George Peppard, Tom Courtenay and Jeremy Kemp parachute into Germany, with orders to destroy the Nazis' V-1 rocket base at Peenemunde. Given the order of billing, guess which special operative survives the longest. This being an MGM production, Peppard has time to commiserate with Sophia Loren, the wife of the Nazi collaborator whom Peppard is pretending to be. If you're wondering about the film's outcome, remember who won the war. Operation Crossbow failed badly in its first release; MGM, deciding that the title misled moviegoers into thinking that the picture was a "Robin Hood" derivation, cleared up matters by renaming the film The Great Spy Mission. ~ Hal Erickson, All Movie Guide

The lively but somehow slightly distasteful The Americanization of Emily stars James Garner as a WWII naval officer who happens to be a craven coward. While his comrades sail off to their deaths, Garner makes himself scarce, generally hiding out in the London flat of his lothario navy buddy James Coburn. Garner falls in love with virtuous war widow Julie Andrews (the "Emily" of the title), but she can't abide his yellow streak. Meanwhile, crack-brained admiral Melvyn Douglas decides that he needs a hero--the first man to die on Omaha Beach during the D-Day Invasion. Coburn is at first elected for this sacrifice, but it is the quivering Garner who ends up hitting the beach. He survives to become a hero in spite of himself, winning Andrews in the process. Paddy Chayefsky's script, based on the novel by William Bradford Huie, attempts to extract humor out of the horrors of war by using broad, vulgar comedy instead of the light satirical touch that would seem to be called for. Americanization of Emily was Julie Andrews' second film; it should have led to a steady stream of adult-oriented roles, but the box-office clout of Mary Poppins and The Sound of Music consigned her to "wholesome family entertainment". ~ Hal Erickson, All Movie Guide