Willoughby Gray Movies

A futuristic dystopia is the setting for this tale about good versus evil and a magical space-sphere out to reestablish a civilized society. An orphanage in a bleak and deserted landscape imprisons a large group of youngsters who have divided into good and bad groups. One day, while competing at roller-skate ball, the teams come across a bowling-ball-sized sphere named Bodhi (a Sanskrit word equivalent to "enlightened compassion"). Bodhi communicates with the good kids, but the bad ones cannot understand the sphere's electronic burbles. The nasty Darstar (Adrian Pasdar) steals Bodhi and heads out into the forbidden world beyond the orphanage. ~ Eleanor Mannikka, All Movie Guide

In this offbeat crime film, Willie Parker (Terence Stamp) an English mobster turned informant, has been given a new identity and has been living in a small, isolated village in Spain for 10 years. Unfortunately for Parker, the men he has betrayed have ascertained his whereabouts and send Braddock (John Hurt), a professional hitman, and his apprentice Myron (Tim Roth) to bring Parker to Paris where his ex-associates await. After kidnapping Parker, nothing goes as planned. Now they are followed by a Spanish policeman (Fernando Rey) who seems to anticipate each of their moves, and they are burdened by Maggie (Laura del Sol), the mistress of a fellow mobster they were forced to kill. What should have been a routine hit becomes a psychological battle between all the participants as Parker, in a fight for time and for his life, plays one against the other. Set against the bleak Spanish landscape and featuring evocative and memorable theme music, the film builds to a surprising conclusion where the true nature of all the characters is revealed. Terence Stamp develops the character of Parker in a subtle but surprisingly comic performance and Laura del Sol shines as a woman who will do what is necessary to survive. Tim Roth, in his film debut, plays a brutal, but oddly endearing thug. But it is John Hurt, in a sensitive and nuanced performance, who brings a perceptive intelligence and depth to his role which adds a philosophical and psychological dimension to the film. Hurt plays his difficult role without a misstep and with a rare economy of action. Thoughtful and frequently amusing, The Hit, superbly written by Peter Prince, is both a compelling and suspenseful crime drama and also a deep and profound meditation on life, death and courage. ~ Linda Rasmussen, All Movie Guide

Two Catholic boarding school students (Dominic Guard and Dai Bradley) embark upon a carefully calculated campaign to drive their hated headmaster (Richard Burton) insane. The boys launch their scheme by cooking up the most bizarre and depraved of imaginary sins, then recite these infractions in the Confessional. This sadistic little game gets wildly out of hand, resulting in murder. It's a toss-up as to who is the most repulsive character; the headmaster or his two charges. One of a long line of 1970s stinkers barely redeemed by the presence of Richard Burton, Absolution was not released until 1988, long after Burton's death. ~ Hal Erickson, All Movie Guide

This lavishly costumed historical epic had an estimated $100 million price tag. Spectacularly photographed battle action contrasts with often plodding individual scenes that bog down the plot. Fearing his growing power, European monarchs force Napoleon Bonaparte (Rod Steiger) to abdicate as Emperor and retire to Elba, and the French are concerned they will be outnumbered by a force of combined armies from many countries in Europe. Napoleon no sooner says goodbye to his loyalist troops than he begins to rally his men and prepare for another takeover. King Louis XVIII (Orson Welles) sends Marshal Michel Ney (Dan O'Herlihy) and his men to counter Bonaparte, but upon seeing his old commander (and ally), Ney thrusts his sword to the ground and takes up arms with the deposed emperor. They all return to Paris by popular demand, defying the orders of Louis (who flees from the palace) and running the monarchy tout seul. Soon England, Austria, Prussia and Russia unite to try and stop the dictator. Wellington (Christopher Plummer) readies his troops near Waterloo, refuses to retreat anymore, and waits for Prussian Marshall Blucher (Sergei Zakhariadze) and his army to join up with the British as the only hope to stop the French juggernaut. Jack Hawkins and Michael Wilding portray key military commanders Picton and Ponosby, respectively. Napoleon and his troops cut into the Prussian and British forces dramatically, weakening their power, but three problems arise. First, Ney refuses to lead his segment of the troops onward; and second, Bonaparte's men are plagued by the wet weather, which causes
the cannon brigade to become immobilized in mud (when Wellington strategically gives Bonaparte's troops the lower ground) rendering it ineffective until late in the day. And even more calamitously, Bonaparte - growing increasingly ill -- insists on leading his men from the rear, which causes the information to become outdated as soon as it gets to him. The Russian version of this film was nearly four hours long, while western audiences saw an edited version slightly over two hours long. Unfortunately, Waterloo bombed at the box office. ~ Dan Pavlides, All Movie Guide

Bill McLean (Van Heflin) is a former CIA agent living in London. He had been fired when he stuck up for one of the men in his command who turned out to be branded a Russian defector. The embittered ex-agent combines forces with another operative to deliver a top Russian secret police official for a price. Before he can deliver the Russian, a trail of corpses and double crosses changes his plans. When his partner who concocted the scheme is murdered, McLean returns the check to the CIA. They offer him his old job back, but the proud man refuses in this suspenseful spy yarn with plenty of intriguing twists and turns. ~ Dan Pavlides, All Movie Guide

Laurence Olivier was the director, co-screenwriter (with Alan Dent), and star of this robust adaptation of Shakespeare's drama, which, as Bruce Eder has written, "was the final, crowning glory of the British studio system and the end of the great cycle of British films aimed at international audiences." Olivier begins his Richard III with Edward IV (Cedric Hardwicke) being crowned king. In the background of the celebration, Richard (Laurence Olivier) jealously views the proceedings and begins to pick off those obstructing his pathway to the throne. Eventually, Richard becomes king and, after proceeding with a succession of intrigues and duplicities, he finds his kingdom in dire peril, set upon by Henry Tudor (Stanley Baker) and mustering a final defense for his realm at the Battle of Bosworth. ~ Paul Brenner, All Movie Guide

Top Secret gets under way when George (George Cole), a janitor in a research plant, accidentally comes into possession of the plans for a revolutionary atomic weapon. As George embarks on his annual vacation, the research security team embarks on a nationwide search for the hapless broom-pusher. Meanwhile, the Russians get wind of the incident and intercept George, plying him with liquor and empty promises so that he'll hand over the plans to them. All the while, George never knows what the fuss is about: he thinks that the British and Soviet authorities are interested in his new plans for a modern sanitary system! No one takes Top Secret seriously--certainly not Oscar Homolka, who delivers a bravura performance as a Russian secret agent who wistfully yearns for the glories of the Czarist days. ~ Hal Erickson, All Movie Guide

In this murder mystery, a woman pretends to be her murdered sister's ghost in an effort to catch the killer. She is assisted by a stranger. Later the two discover that it was the brother-in-law who committed the crime and together they get their revenge. ~ Sandra Brennan, All Movie Guide