Rampling, Charlotte

Angel Heart (Special Edition)

Set in Harlem and New Orleans in 1955, this supernatural thriller stirred a brief controversy when released in 1987 because some scenes featuring Lisa Bonet (then a popular cast member of The Cosby Show) were considered too sexually explicit to be rated R. The edited material was restored for the unrated video release, and the movie now makes a fitting double bill with Fallen, with its similar plot about a sullen detective (Mickey Rourke) who is hired to find a missing person by a shady client with pointy fingernails named Louis Cyphre (Lucifer, get it?), played with subtle menace by Robert De Niro. Rourke's investigation leads him into an underworld of voodoo and forbidden desires, and as the mystery unfolds director Alan Parker fills every scene with conspicuous style and atmospheric excess, compelling critic Pauline Kael to observe that, "Parker simply doesn't have the gift of making evil seductive, and he edits like a flasher." And yet, this movie does cast a spell of its own (Roger Ebert's review was considerably more charitable), and the performances of Rourke, De Niro, Bonet, and Charlotte Rampling are well suited to the ominous mood. --Jeff Shannon

Spy Game (Widescreen Edition)

A thinking person's thriller, Spy Game employs dense plotting without sacrificing the kinetic momentum that is director Tony Scott's trademark. The film has the byzantine scope of a novel, focusing on veteran CIA operative Nathan Muir (Robert Redford), whose protégé Tom Bishop (Brad Pitt) is scheduled for execution in a Chinese prison. It's Muir's last day before retiring (cliché alert!), and Bishop is being deliberately sacrificed by oily CIA officials to ensure healthy trade with China. Muir has 24 hours to rescue Bishop and his perfunctory love interest (Catherine McCormack), and Spy Game connects the mentor's end-run strategy to flashbacks of his student's exploits in Berlin, Beirut, and beyond. Ambitious but emotionally bland--and not as exciting as Scott's Enemy of the State--Spy Game offers pass-the-torch humor between leather-faced Redford and pretty boy Pitt, and although their dialogue is occasionally limp, the movie compensates with efficient style and substance. --Jeff Shannon

The Verdict (Two-Disc Collector's Edition)

In this 1982 courtroom drama written by David Mamet and directed by Sidney Lumet, Paul Newman found the perfect role for a transitional period of his stellar career. As alcoholic Boston lawyer Frank Galvin, Newman shook off his screen persona as a handsome, blue-eyed hunk to portray an aging, weary man whose best years are behind him, with a shot-glass future that looks very bleak indeed. But when Galvin is given a chance to redeem himself--by proving medical negligence in the case of a comatose woman--he makes one final effort to regain his self-respect and tarnished reputation. He's an underdog against formidable odds, facing a powerful, politically connected lawyer (James Mason, slick as ever) who will do anything to win his case, regardless of professional ethics. Further complicating matters is a woman (Charlotte Rampling) who only appears to be worthy of Galvin's trust and love, until Galvin's best friend and colleague (Jack Warden) proves otherwise. Excellent as both courtroom drama and riveting character study, the film crackles with Mamet's sharp dialogue; and Lumet's direction is a brilliant example of forceful restraint. The film gave Newman one of the best roles of his career; many felt he deserved the Oscar (he lost to Ben Kingsley in Gandhi) that would belatedly be given to Newman for The Color of Money. Along with Hud, Cool Hand Luke, and Butch Cassidy and the Sundance Kid, The Verdict ranks highly as a signature performance by one of America's all-time greatest actors. --Jeff Shannon

Sidney Lumet's riveting courtroom drama earned five Oscar(r) nominations including Best Picture and Best Actor for Paul Newman's towering performance as a down-and-out alcoholic attorney who stumbles onto one last chance to redeem himself. When attorney Frank Calvin (Newman) is given an open-and-shut medical malpractice case that no one thinks he can win, he courageously decides to refuse a settlement from the hospital. Instead he takes the case, and the entire legal system, to court.

The Films of Paul Newman (The Verdict/The Hustler/Butch Cassidy)

Contains: *The Verdict *Butch Cassidy and The Sundance Kid *The Hustler

The Wings of the Dove

Queen of the costume drama Helena Bonham Carter finally got a chance to loosen her corset a bit with this exquisitely mounted (Sandy Powell's costumes were nominated for an Academy Award) romantic drama based on Henry James's classic novel. Set in turn-of-the-century London and Venice, Wings of the Dove is a stately departure--more PBS than MTV--for Iain Softley, director of Hackers and the birth-of-the-Beatles biopic Backbeat. But there's enough romantic intrigue to perhaps fuel a week's worth of daytime TV talk shows: My Lover Seduced a Dying Heiress for Her Money.

Bonham Carter, who won several critics association honors for her performance (she was nominated for a Golden Globe and Oscar as well) stars as Kate, who is engaged in a secret affair with Merton (Linus Roache), a journalist whose poor financial standing makes marriage impossible. Kate's manipulative aunt (Charlotte Rampling) threatens to disown her unless she marries the more suitable Lord Mark (Alex Jennings). Opportunity--admittedly sordid--arrives in the form of Millie (Alison Elliott), an American heiress whom Kate befriends. When Kate learns that Millie is dying, she suggests to Merton that he seduce her to make her last days happy, and ensuring that Millie will leave Merton her money when she dies. Merton reluctantly agrees, just as Kate begins to have second thoughts that threaten to sabotage the scheme.

One of the most rapturously reviewed films in recent years, Wings of the Dove is a must-own film for the Merchant-Ivory crowd. But guys: don't dismiss this as a "chick flick." Beneath its Masterpiece Theatre exterior beats the wild and untamed heart of Dawson's Creek. --Donald Liebenson

Highly acclaimed as one of the year's most outstanding movies, THE WINGS OF THE DOVE is a provocative tale of passion, temptation, and greed. Helena Bonham Carter (HOWARDS END) delivers a stunning, award-winning performance as Kate, a beautiful young society woman whose desire for a common journalist (Linus Roache) presents her with an impossible decision: leave him, or marry -- and face a life of poverty. Events take an unexpected twist, however, when Kate befriends a lonely young heiress (Alison Elliott) whose own tragic secret offers an irresistible ... but dangerous ... solution. Nominated for 4 Academy Awards(R), this intriguing story of forbidden love is a motion picture event you won't soon forget!

Augustus

Augustus is equal parts history lesson and soap opera, and thoroughly engaging at all levels. Peter O'Toole plays Octavius/Augustus, heir to his doomed uncle Julius Caesar's command of the far-flung Roman empire. Surviving an assassination attempt and struck by news of the death of his old friend and ally, Agrippa (Ken Duken), in the same day, Octavius waxes nostalgic about his youthful exploits in Caesar's army (Benjamin Sadler plays the young Augustus in flashbacks) and his unprepared immersion in the deadly politics of the Mark Antony (Massimo Ghini) era. More immediate are Octavius' problems trying to stave off conspiracies by his wife Livia (Charlotte Rampling) to set up the emperor's stepson, Tiberius (Michele Bevilacqua), as heir, and talk his dutiful daughter Julia (Vittoria Belvedere) into a marriage she doesn't want. Roger Young (Jesus) directs this highly watchable costume drama, and O'Toole's golden presence makes the ancient intrigues tragically human. --Tom Keogh

Zardoz

A bewigged Sean Connery is Zed, a savage "exterminator" commanded by the mysterious god Zardoz to eliminate Brutals, survivors of an unspecified worldwide catastrophe. Zed stows away inside Zardoz's enormous idol (a flying stone head) and is taken to the pastoral land of the Eternals, a matriarchal, quasi-medieval society that has achieved psychic abilities as well as immortality. Zed finds as much hope as disgust with the Eternals; their advancements have also robbed them of physical passion, turning their existence into a living death. Zed becomes the Eternals' unlikely messiah, but in order to save them--and himself--he must confront the truth behind Zardoz and his own identity inside the Tabernacle, the Eternals' omnipresent master computer.

A box office failure, John Boorman's Zardoz has developed a cult following among science fiction fans whose tastes run toward more cerebral fare, such as The Andromeda Strain and Phase IV. An entrancing if overly ambitious (by Boorman's own admission) film, Zardoz offers pointed commentary on class structure and religion inside its complex plot and head-movie visuals; its healthy doses of sex and violence will involve viewers even if the story machinations escape them. Beautifully photographed near Boorman's home in Ireland's Wicklow Mountains by Geoffrey Unsworth (2001), its production design is courtesy of longtime Boorman associate Anthony Pratt, who creates a believable society within the film's million-dollar budget. The letterboxed DVD presentation includes engaging commentary by Boorman, who discusses the special effects (all created in-camera) as well as working with a post-Bond Connery. --Paul Gaita

Two societies, one intellectual (the Eternals) and the other physical (the Brutals) live side by side but never meet. Sean Connery is a Brutal out to shake things up.

Orca - The Killer Whale

ORCA: THE KILLER WHALE stars Richard Harris and Bo Derek in her screen debut in an epic struggle between a strong and determined fisherman and an equally determined whale. When the whale's pregnant mate is killed, it goes on a rampage, seeking revenge on the man by smashing boats, collapsing buildings and causing extreme destruction by fire.

Swimming Pool (Unrated Version)

In terms of alluring female nudity, Swimming Pool shows a lot, but it's what remains concealed that gives this erotic thriller a potent, voyeuristic charge. With his Hitchcockian handling of secrets and lies, prolific French director François Ozon reunites with his Under the Sand star, Charlotte Rampling, to tell a seductive tale of murder and complicity, beginning when British mystery novelist Sarah Morton (Rampling) seeks peace and relaxation at her publisher's French villa, only to find his brash, sexually liberated daughter Julie (Ludivine Sagnier) arriving shortly thereafter to disrupt her solitary reverie. What begins as mutual annoyance turns into something more sinister and duplicitous, alternating between Julie's predatory sex with men and Sarah's observant, perhaps jealous fascination. These two women, generations apart, share in Ozon's delicate dance of trust, curiosity, and gradual understanding, until a twist ending that forces you to reevaluate everything you've seen. Only then will the mysteries of Swimming Pool be fully and tantalizingly revealed. (Note: The unrated version contains full-frontal nudity that's been edited from the rated version. In both versions, the overall plot is not affected.) --Jeff Shannon

Great Expectations (Masterpiece Theatre, 1999)

This capable and intelligent adaptation of Charles Dickens's classic novel is one in a long line of Great Expectations put to film. But this two-part drama distinguishes itself with its faithfulness to the book and outstanding performances by the principal cast. Ioan Gruffudd plays the adult Pip, an orphan who lives with his sister and her kindly blacksmith husband. Pip's life changes when he is sent for by Miss Haversham (Charlotte Rampling), an eccentric and wealthy spinster who wears only her bridal gown, which she was wearing when she was left at the altar years before. Introduced to Estella (played later as a woman by Justine Waddell), Miss Haversham's contemptuous ward, Pip falls in love with the girl and spends the remainder of his youth attempting to be good enough for her--a state of affairs that suddenly seems possible when a mysterious benefactor makes Pip's education as a London gentleman possible. Gruffudd is a fine choice for the central character, and his naturally intense expression underscores Pip's problems with insecurity and sense of deservedness. Waddell is an appropriately solipsistic Estella, slightly reminiscent of Vivien Leigh, and Rampling's casting is an unexpected but terrific move on the filmmaker's part. The veteran actress's career-long air of mystery, vague suffering, and intense sexuality bring a potent power to Miss Haversham's baleful looks. Dickens would be proud of this one. --Tom Keogh

Ioan Gruffudd, Justine Waddell and Charlotte Rampling star in this adaptation of Charles Dickens' enduring classic Great Expectations, the story of a young orphan named Pip who lives with his sister and her blacksmith husband, Joe.

One day Pip is sent to play at the residence of Miss Havisham, a frightening, elderly woman who seems locked in the past. She wears ancient bridal attire and never moves from the dusty upper rooms of her home. Miss Havisham's beautiful but contemptuous ward, Estella, makes Pip feel appallingly inferior, creating in him a desire to better himself—changing his life forever. But despite his efforts to improve himself, the frustrated Pip seems destined to remain Joe's apprentice. Until one day a lawyer calls to inform Pip that he has "great expectations:" Pip is to be released form his apprenticeship and educated in London as a gentleman! The benefactor who has made this life transformation possible, however, wishes to remain anonymous.