David Muir Movies

In the late 1940's, as Australian politics became increasingly polarized in the wake of the growing Cold War, a group of leftist film enthusiasts who were increasingly troubled by the hesitance of most exhibitors to screen Russian or European films with radical themes founded a film society called the Realist Film Unit. While the Realists initially showed films made by others, the group soon began producing documentaries on political and social issues they believed were being ignored by the mainstream media, including economic injustice and unfair housing practices. While members of the Realist Film Unit found themselves hounded by police and were subjected to surveillance by Australian Security and Investigation Organization, the group continued to make films and document political actions through the 1950's. Australian filmmakers John Hughes and Uri Mizrahi were given a cache of the Realist Film Unit's archival materials by the daughter of founder Bob Matthews, and the documentary The Archive Project looks back at the men and women who comprised the RFU, the issues they explored, the opposition they faced from the Australian authorities, and the historic footage they left behind. The Archive Project received its world premiere at the 2006 Sydney Film Festival. ~ Mark Deming, Rovi

This adaptation of three stories from Irvine Welsh's short-story collection of the same name reunites Annie Louise Ross, Kevin McKidd, and Ewen Bremner from the author's previous cinematic success, Trainspotting, which was also set in the author's native North Edinburgh. In the Kafka-esque "The Granton Star Cause," a lazy amateur footballer (Stephen McCole) has a very, very bad day that culminates in God (Maurice Roeves) turning him into an insect. In "A Soft Touch," a young husband and father (McKidd) finds his life disrupted when a psychotic neighbor (Gary McCormack) takes up with his wife (Michelle Gomez) and invades his wretched tenement. And in "The Acid House," a druggie low-life (Bremner) experiences a Freaky Friday-style body switch with the infant son of a pair of self-involved yuppies. After "The Granton Star Cause" was screened separately at the Edinburgh Film Festival, the completed film was shown at Cannes in 1998. The title is a play on the term "acid house," a form of sinister dance music that emerged in Chicago in the mid-'80s and helped fuel the formative years of England's rave culture. Former Doctor Who actor Maurice Roeves, who plays God in "The Granton Star Cause," also has cameos in the other two segments. Jemma Redgrave, niece of Lynn and Vanessa Redgrave and cousin of Natasha and Joely Richardon, appears in the title segment and lends her Bjork-haired visage to the film's poster. ~ Brian J. Dillard, Rovi

Forgotten 20th Century Fox starlet Geneviève Waïte and forgotten "trendy" director Michael Sarne teamed for the eminently forgettable Joanna. Waïte stars as the title character, a swinging London art student who uses up men like other people use Kleenex. Her carefree lifestyle comes to an end when she is impregnated by Gordon (Calvin Lockhart) -- one of the first black-white relationships in a major motion picture. Joanna frequently becomes a musical, notably in the final sequence, in which the heroine joins in a chorus with the entire cast and production crew Donald Sutherland co-stars as one of Joanna's wealthy paramours. Director Michael Sarne went from Joanna to Myra Breckinridge, then disappeared from view. ~ Hal Erickson, Rovi

Dudley Moore stars as Emory Lesson, an advertising genius whose finds himself committed to an insane asylum in Tony Bill's Crazy People. Emory becomes tired with creating phony ad campaigns and decides to create his own campaigns that tell the brutal truth. Since sex sells, Emory designs an explicit ad campaign consisting of unadorned sexuality. The campaign is so offensive that his colleagues have Emory put in a mental institution. At first Emory resists, but under the tutelage of a concerned psychiatrist, Dr. Liz Baylor (Mercedes Ruehl) and the tender love of Kathy (Daryl Hannah) a beautiful patient, Emory begins to like it in the mental home. Befriending the cute and lovable patients in the mental ward, Emory discovers that the crazy people are natural-born advertising geniuses and Emory utilizes their genius for a new ad campaign. ~ Paul Brenner, Rovi

With minimalist production values and little dialog, this romantic fantasy takes place on the barren Isle of Jersey where a troubled wife has come to sort out the tumult of her life. She encounters a lighthouse-keeper there and they quickly become lovers. Together they flee to Scotland. One day they are making love on a beach when the lighthouse keeper dies. Things don't get better when he returns from the dead to haunt her. ~ Sandra Brennan, Rovi

A quartet of bizarre British blue bloods get their kicks by kidnapping male victims and bringing them to their estate in the country. After one man (Hugh Armstrong) is killed in an in-house chase, a local playboy (Michael Bryant) is blackmailed into coming to the house. The four fiends chase him down, but he manages to have the brother and the nanny kill each other, leaving him to the mercy of the mother and demented daughter. The two offer to share the man between themselves, but the playboy has already planned the mother's imminent demise. ~ Dan Pavlides, Rovi

Monty Python's And Now For Something Completely Different was first released in the US in 1973, but didn't really take off as a midnight-movie fixture until after the Monty Python's Flying Circus TV series began making the PBS rounds. Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin and Terry Gilliam are the Pythonites in attendance, together with semiregulars Carol Cleveland and Connie Booth. The sketches presented include such classics as "The Lumberjack Song", "Hell's Grannies", "The Upperclass Twit of the Year Race", and, of course, "The Dead Parrot". Additionally, Terry Gilliam's animated-cartoon interpolations act as buffers between sketches. ~ Hal Erickson, Rovi