John-Wood Movie Reviews

Bette Davis stars in this melodrama as Joyce Heath, an actress that has been labeled a jinx due to the hard luck that befalls the men in her life and the productions she is associated with. Once considered that brightest, rarest talent of her generation, she is reduced to an embarrassed alcoholic, unable to get work. She is rescued by Franchot Tone, an architect and fan who wants to rehabilitate. He's engaged to society girl Margaret Lindsay, who knows nothing of his "humanitarian" deeds. Needless to say, Tone falls for Davis, and he begins to discover why his housekeeper Alison Skipworth has warned him against her ... she is dangerous. You can't say Davis doesn't go for it with this performance. She chews the scenery in her drunk and bitter scenes. She is more subdued and effective in the quieter scenes, when she reveals her character's vulnerability. Tone is alright, not really making much of an impression, while Lindsay is boring in a badly written role that she does nothing with. The screenplay is weak and obvious, and the melodrama came on too strong for my tastes. I never really felt that these were real people, but rather just plot devices to keep the story moving along. But Davis does help to keep it watchable. You sort of get the impression she knew how bad this was, so she did whatever she could to salvage the film.

Bette Davis won an Oscar for her deft portrayal of Joyce Heath, a former Broadway star who made a meteoric rise to the top and, just as quickly, hit bottom. Believed to be a jinx by a superstitious theatre crowd, Heath is bad news, a sloppy, bitter drunk who drowns her sorrows in gin soaked jags of self pity. The former brightest star on Broadway is now a bottom feeder, living on the skids.

Enter Don Bellows, played with earnest sincerity by Franchot Tone, a fan of Heath when she was at her peak. He claims that a performance of hers, which he saw, forever changed his life, allowing him to become the architect he always dreamed of being, rather than a stockbroker. One day, he sees Ms. Heath in a gin joint, totally in her cups. Sending his friend and his fiancee, Gail, home, he returns to the gin joint and takes Joyce Heath to his country home to rehabilitate her in repayment for the tremendous difference that she had, unknowingly, made in his life. What he does not count on is falling in love with her.

The bitter Joyce initially resists his attempts to get her back on the road to recovery, but ultimately responds to his nurturing and concern for her welfare. Recovered, she finds that she has fallen in love with him and he with her. His passion for her causes him to break off his engagement with Gail, his socially prominent fiancee.

Wanting to help Joyce regain the stardom that she previously had and that her thespian talent demands, Don backs a broadway show that he believes will allow her to regain her rightful place on Broadway. He does this, despite her protestations that she has brought only ruin to those men who had the misfortune to fall in love with her. He also insists that she marry him. His simple, though insistent, marriage proposal sets into motion a sequence of events that he could not possibly have envisioned. Enter Gordon Heath, a blast from Joyce's secret past, who must be dealt with, if Joyce is to find any happiness with Don. How she deals with him, however, sets her down a path out of one's worst nightmare. Subsequent events later make Don realize that Joyce is truly "dangerous".

Bette Davis is dazzling in her role. She runs the gamut of human emotions in playing the role of Ms. Heath and, deservedly, won what was to be the first of two Academy Awards for Best Actress. Franchot Tone is fine in his role, but what on earth the studio saw in him, I cannot fathom. He is certainly no heartthrob and is not even particularly charismatic. The role of Gordon Heath, played with simpering masochism by John Eldridge, makes the viewer marvel at the restraint Joyce had in dealing with him, as Eldridge's portrayal makes the viewer's fingers itch with the urge to slap him numerous times.

Unfortunately, the sizzle in the movie fizzles, when the film gives in towards the end to utter sanctimonious banality. It is too bad, given the performance by Ms. Davis, as it could have been a great movie. Still, this is a must see film for all Davis fans.

"Dangerous," directed by Alfred Green, stars Bette Davis as actress Joyce Heath. Joyce is a down-and-out alcoholic who hasn't been able to find work on stage since being labeled a "jinx." Soon she becomes involved with architect Don Bellows (played by Franchot Tone). Intriguing plot twists and revelations follow as their relationship develops.

There is some corny dialogue, but "Dangerous" is also filled with great lines. Davis is outstanding as the bitter, passionate, impetuous Joyce: it's another fittingly larger-than-life role for the legendary star. Tone complements Davis brilliantly as the charming but conflicted Don; ultimately, it's the two stars' chemistry which really drives this drama. "Dangerous" is a meditation on free will, fatalism, personal responsibility, and the impact of art on life.

Bette Davis stars in this melodrama as Joyce Heath, an actress that has been labeled a jinx due to the hard luck that befalls the men in her life and the productions she is associated with. Once considered that brightest, rarest talent of her generation, she is reduced to an embarrassed alcoholic, unable to get work. She is rescued by Franchot Tone, an architect and fan who wants to rehabilitate. He's engaged to society girl Margaret Lindsay, who knows nothing of his "humanitarian" deeds. Needless to say, Tone falls for Davis, and he begins to discover why his housekeeper Alison Skipworth has warned him against her ... she is dangerous. You can't say Davis doesn't go for it with this performance. She chews the scenery in her drunk and bitter scenes. She is more subdued and effective in the quieter scenes, when she reveals her character's vulnerability. Tone is alright, not really making much of an impression, while Lindsay is boring in a badly written role that she does nothing with. The screenplay is weak and obvious, and the melodrama came on too strong for my tastes. I never really felt that these were real people, but rather just plot devices to keep the story moving along. But Davis does help to keep it watchable. You sort of get the impression she knew how bad this was, so she did whatever she could to salvage the film.

Bette Davis won an Oscar for her deft portrayal of Joyce Heath, a former Broadway star who made a meteoric rise to the top and, just as quickly, hit bottom. Believed to be a jinx by a superstitious theatre crowd, Heath is bad news, a sloppy, bitter drunk who drowns her sorrows in gin soaked jags of self pity. The former brightest star on Broadway is now a bottom feeder, living on the skids.

Enter Don Bellows, played with earnest sincerity by Franchot Tone, a fan of Heath when she was at her peak. He claims that a performance of hers, which he saw, forever changed his life, allowing him to become the architect he always dreamed of being, rather than a stockbroker. One day, he sees Ms. Heath in a gin joint, totally in her cups. Sending his friend and his fiancee, Gail, home, he returns to the gin joint and takes Joyce Heath to his country home to rehabilitate her in repayment for the tremendous difference that she had, unknowingly, made in his life. What he does not count on is falling in love with her.

The bitter Joyce initially resists his attempts to get her back on the road to recovery, but ultimately responds to his nurturing and concern for her welfare. Recovered, she finds that she has fallen in love with him and he with her. His passion for her causes him to break off his engagement with Gail, his socially prominent fiancee.

Wanting to help Joyce regain the stardom that she previously had and that her thespian talent demands, Don backs a broadway show that he believes will allow her to regain her rightful place on Broadway. He does this, despite her protestations that she has brought only ruin to those men who had the misfortune to fall in love with her. He also insists that she marry him. His simple, though insistent, marriage proposal sets into motion a sequence of events that he could not possibly have envisioned. Enter Gordon Heath, a blast from Joyce's secret past, who must be dealt with, if Joyce is to find any happiness with Don. How she deals with him, however, sets her down a path out of one's worst nightmare. Subsequent events later make Don realize that Joyce is truly "dangerous".

Bette Davis is dazzling in her role. She runs the gamut of human emotions in playing the role of Ms. Heath and, deservedly, won what was to be the first of two Academy Awards for Best Actress. Franchot Tone is fine in his role, but what on earth the studio saw in him, I cannot fathom. He is certainly no heartthrob and is not even particularly charismatic. The role of Gordon Heath, played with simpering masochism by John Eldridge, makes the viewer marvel at the restraint Joyce had in dealing with him, as Eldridge's portrayal makes the viewer's fingers itch with the urge to slap him numerous times.

Unfortunately, the sizzle in the movie fizzles, when the film gives in towards the end to utter sanctimonious banality. It is too bad, given the performance by Ms. Davis, as it could have been a great movie. Still, this is a must see film for all Davis fans.

"Dangerous," directed by Alfred Green, stars Bette Davis as actress Joyce Heath. Joyce is a down-and-out alcoholic who hasn't been able to find work on stage since being labeled a "jinx." Soon she becomes involved with architect Don Bellows (played by Franchot Tone). Intriguing plot twists and revelations follow as their relationship develops.

There is some corny dialogue, but "Dangerous" is also filled with great lines. Davis is outstanding as the bitter, passionate, impetuous Joyce: it's another fittingly larger-than-life role for the legendary star. Tone complements Davis brilliantly as the charming but conflicted Don; ultimately, it's the two stars' chemistry which really drives this drama. "Dangerous" is a meditation on free will, fatalism, personal responsibility, and the impact of art on life.

For years this movie languished at the film lab, because Ed couldn't afford the developing fees! When it's bail was finally paid, the world could finally see the final film in the Kelton the Cop trilogy. This is a kind of sequel to Bride of the Monster, which plays very loose with the facts of that film. A fake medium has set up shot in Lugosi's old house - rebuilt I suppose - Lobo (Tor Johnson) survived its destruction and is still lumbering around, for some reason Kelton the cop has not been fired, there's a couple of ghosts running around, and let's not forget - Criswell in a coffin! Surprisingly, Wood shows a fair amount of competence in the filmmaking department, but at the cost of his usual outrageous gaffes and overwrought dialogue, which makes his other efforts so enjoyable to the fan of bad cinema.

Ed Wood, the worst director of all time; strikes again with this sequel to his "classics" PLAN 9 FROM OUTER SPACE and BRIDE OF THE MONSTER. NIGHT OF THE GHOULS (a.k.a REVENGE OF THE DEAD) has the inimitable Tor Johnson reprising his role as the hulking henchman Lobo; now hideously disfigured following the lab fire at the climax of BOTM. Criswell also narrates the film from the comfort of his coffin: "... a tale so astounding that some of you may faint!"
Once again Wood wears multiple hats as writer, producer and director of another awful but fun "horror" movie.
The story takes place in the small town of Willow Lake, where in the now familiar creepy old house Lugosi's successor, a mad Swami named Dr Acula (Kenne Moore) is raising the dead from their graves- one of which is a man in a cape with a high neck which is supposed to make him appear headless!- and setting them on juvenile delinquents, kids who do nothing worse than rock 'n roll dancing. Enter bumbling police Captain Robbins (John Carpenter- not the director) to try and make sense of and put an end to the madness, once and for all. But inside the house he has to contend with joke shop skeletons which are seated at the dining room table and possessed floating trumpets that play by themselves; as well as taking part in Acula's seance to raise the dead: the conjured spirit turns out to just be a guy covered by a bedsheet! Wood's attempt at a climactic plot twist is just as awful as the rest of the movie... which is good. Right?
What makes Wood's movies so funny is that he always made them with serious intentions, here he tries to tackle "serious" subjects such as the aforementioned delinquency and road deaths, the results of which are (naturally) inept and wholly innocuous. There are also references by characters to BRIDE OF THE MONSTER as well as several shots from that movie being reused- notably the lightning storm. NIGHT OF THE GHOULS went unreleased for 25 years because Wood couldn't afford to pay the printing lab.
DVD extras includea bio and filmography for Wood, as well as trailers for PLAN 9, GLEN OR GLENDA, BRIDE OF THE MONSTER and JAIL BAIT (which I haven't seen yet). A must-have for film buff and fans of bad movies.

Night of the Ghouls, the last film in Ed Wood's horror cycle, (following Bride of the Monster and Plan 9 from Outer Space) borrows elements from both of those films but, while inhabiting a similarly wacked-out world, isn't really a direct sequel to either. Kenne Duncan (struggling to maintain his tough-guy persona while wearing a silly-looking turban) plays Dr. Acula, a phony medium who has set up shop bilking wealthy octogenarians in "the old Willows Lake place where the mad doctor made monsters," a veiled reference to Bride of the Monster. Duke Moore (Plan 9, Sinister Urge) is Lt. Dan Bradford, undercover "spook chaser," investigating reports of mysterious goings-on at the mansion. You know you're watching an Ed Wood movie from the first scene: the clearly identified East Los Angeles police station is shown while Criswell describes the location as "Anytown U.S.A."; cut to the interior of the station where a 'Wanted' poster on the wall displays none other than the director himself. (He also appears in some brief "JD" footage.) Night of the Ghouls is actually somewhat controversial in bad film circles; some rank it as one of Wood's best, while others claim to find it boring. True, it does share a slower pace and relative lack of dizzying incompetence with Jail Bait, Wood's other neglected and similarly maligned 1950s feature. But all the requisite elements of an "Ed Wood movie" are here for the faithful: the florid Criswell narration and convoluted, mind-numbing dialogue; the wildly contrasting acting styles, from complete indifference to rampant scenery-chewing; the lurching, paradoxical continuity and non-sequitur edits; the poverty-stricken sets (darkness stands in for scenery a lot and Dr. Acula's makeup mirror is missing half its bulbs); and Gordon Zahler's cringeworthy stock music cues (also featured in Monstrosity, Astounding She Monster, and Beast of Yucca Flats). On balance, William C. Thompson's cinematography looks terrific, as usual (especially considering the schedule). Wood 'discovery' Valda Hansen emotes strangely as the White Ghost; Paul Marco does his so-unfunny-it's-amusing Kelton the Cop routine; Jeannie Stevens stalks and stares Vampira-like as the completely unexplained Black Ghost; zero-budget producer Anthony (Yucca Flats) Cardoza has a bit part; Wood's chiropodist, Tom Mason (who doubled Lugosi in Plan 9), appears as a Ross Perot-look ghost; and narrator Criswell (looking uncharacteristically rough in the intro) abruptly shows up at the climax, well-scrubbed and spit-curled, as an undead avenger, complete with 'sepulchral' vibra-tone vocal effect. Big Tor (in his third and final outing as "Lobo") sports what is perhaps makeup man Harry Thomas's wildest gross-out creation ever: he's got a creepy white eyeball and the other half of his face and shoulder are a mass of scar tissue (??). Unfortunately he doesn't get that much screen time (apparently Tor walked off the set at least once over money!) Check the scene where Lt. Bradford encounters Acula and Lobo and doesn't even seem to NOTICE the hideously scarred hulking brute standing right next to him! Actually improves with multiple viewings. CAUTION: Enjoyment of Night of the Ghouls is probably proportional with one's appreciation of Wood's previous work. While veteran Wood-heads will find familiar, if perhaps subtler, delights to groove on, I would advise the uninitiated to start with the more notorious films in the Ed Wood canon (Plan 9, Glen or Glenda, Bride of the Monster); first-time Wood viewers may not "get the references," and find Ghouls boring and confusing. To take the whole movie to another level, find a copy of Rudolph Grey's out-of-print Nightmare of Ecstasy, which contains some incredible anecdotes, particularly from Ms. Hansen and assistant director Ronnie Ashcroft (director/producer of Astounding She Monster), several of which concern Kenne Duncan's lecherous on-set behavior.
Presumably the last major release in the Image/Wade Williams "Edward D. Wood, Jr. Library," Night of the Ghouls looks spectacular on DVD. Williams supposedly rescued this film from oblivion by paying Wood's outstanding lab bills in the 1980s, so the elements are virtually pristine. You have to look really hard to see even the occasional speckle, and the brightness, contrast, grayscale, sharpness, and shadow/highlight detail are simply terrific, especially for a movie of its age and pedigree. The main menu is animated and the DD 1.0 mono sound is clear. Since the picture was never released theatrically there is no accompanying trailer, although five of the usual suspects are included in a cookie. Twelve chapter stops are the only other extra, but for hard-core Wood fans this is still essential. Others reread my cautionary statement.

Ash Wednesday is not a GREAT movie. You should know that right off the bat. It is not even a particularly GOOD movie. So that's the bad news out of the way.
The good news is, it isn't bad either, in its own way. It is extremely slow-paced at the beginning and quite repetitive, but the music and repetetiveness make it relaxing rather than boring; it becomes almost hypnotizing, at least if you're watching it late at night.

The movie is about a family entangled in a mess of murderous criminals, a boy (Elijah Wood) who killed three of these criminals years ago and paid for it with his life, and his older brother who starts to hear rumors that his late sibling has been seen around town.
It doesn't have a lot in the way of plot, but once it gets going, not even that slows down this movie; it has midnight chases, tense moments, gunshots, scared girlfriends and mysterious people in the corner enough for any better-planned action movie, and it more than makes up for spending the first half of the movie watching the older brother walk around and run into people on the street.

As I said at the beginning, this is not a great movie. But it should certainly be credited with being, for want of a better word, resourceful: it has a second-rate, predictable plot and not much else, but it takes what it has and runs with it and the result is surprisingly entertaining.

(Also, fans of Elijah Wood, this will be a fun movie for you!)

Go rent or buy this movie. It is totally worth it. Especially if you love Elijah Wood or Edward Burns. They do an amazing job in this film. It is an powerful movie about family and what you will do to help them. No matter what could happen to you for doing so.

I loved this movie. I picked it up after seeing Edward Burns on the cover, rather than Elijah Wood. And the fact that Edward Burns directed intrigued me as well. Plus with Rosario Dawson (one of my favorite actresses), it seemed like a can't-miss.

The movie itself was awesome. A wonderful story. It was a bit predictable at the end. But surprising at the same time. This film kept me on the edge of my seat the entire time. It was superb.

I was totally unprepared for how much I liked this movie. It is an interesting hybrid of Kenneth Grahame and Monty Python which probably works against it for a lot of people who expect one or the other and that is really too bad because the film has so much to offer. Although released by Disney (they own the film rights for the book in America thanks to their 1949 animated film ADVENTURES OF MR TOAD), the film was not made by them which accounts for the lackluster treatment it was given in this country. It went directly to video, was retitled in the process (it was originally THE WIND IN THE WILLOWS like the book), and has already been withdrawn from circulation. So much for it's rather sad history. The good news is that there are still plenty of copies to be had and at very good prices too but probably not for long so grab it while you can. While director-writer-star Terry Jones does take several liberties with the book, he remains true to the spirit of Grahame's work and that is the important thing. The performances from Jones, Eric Idle, Nicol Williamson, and especially Steve Coogan in the principal parts are truly extraordinary. Antony Sher as the Chief Weasel is an absolute delight and the cameos by former Python members and well known British television performers only add to the fun. The production design is stunning from the quirky costumes to the underground homes of Badger and Mole and the period motor cars that Toad dispatches are a wonder to behold. The BRAZIL like subplot concerning the dog food factory has bothered some people but it is in keeping with Grahame's views on rural destruction and urban blight and it also happens to be highly effective. The brief musical numbers scattered throughout the film add a touch of the surreal with The Weasel's Song (a wickedly funny parody of CATS) as delightful as it is unexpected. MR TOAD'S WILD RIDE is not a great movie but it is a highly creative one. It leaves you with a surprising number of sequences that will have you returning to it without really knowing why. Shame on Disney for treating it so shabbily. Let's hope that they will release it on DVD as that is the least that it deserves. An ideal movie for adults and children, it is as Mr Toad would say, "Glorious, simply glorious!"

'Mr. Toad's Wild Ride' is definitely one of the most charming children's movies that I've ever seen. Based loosely on the classic 'Wind in the Willows' by Kenneth Grahame, the film is set in the English countryside and follows the adventures (and misadventures) of Mr. Toad (Terry Jones of Monty Python!), Ratty (Eric Idle of the same), Mole(Steve Coogan), and Badger(Nicol Williamson) as they battle with the evil, greedy weasels over the rights to Toad Hall. The special effects are minimal but very well done, and the quaint period costumes and animal make-up creates the perfect woodland atmosphere. The songs are short but cute; you'll find yourself humming the tunes before you know it. All in all, children will find the characters delightful and funny, while the darker images of the dangers of industrialization and progress will keep the attention of adults. I'd say my rating is four and a half stars, as opposed to just four. 'Mr. Toad's Wils Ride' is a definite must to any video collection!

This movie was barely released in theaters. Great adaptation of the Wind in the Willows stories, with excellent characterizations. Funny and very well-done--not just for kids.

"The Story of Ruth" kept me glued to the TV screen for over two hours as I watched the Biblical epic come to life. What I especially liked was the textured and multi-faceted manner Ruth is depicted. She's a flat, boring character in the Biblical narrative--too wonderful, too good. Not so in the flick and therein lies the movie's strength. There are some hyper-dramatic scenes (i.e.: Ruth's marriage to Mahlon in Moab), however, I found myself smiling and strangely warmed by the drama rather than shifting uncomfortably on my Futon. Especially powerful was the video's emphasis on Ruth and Naomi's strong friendship--a liason which enabled them not to just survive back in Naomi's home town of Bethlehem, but showed the women garner strength and inner beauty through their love for one another.

Unfortunately nowadays Hollywood does not make God Bible Epic such as this movie , i.e., The Story of Ruth VHS. The storyline, script and dialogue are all well developed and the characters seem all very auenthic and not the least phony or fake. The costumes in the movie are also well made and one could imagine that the people at the time actually dressed in this manner. The actres whom plays Ruth does a commendable job and should be praised for her performance. The music is not as strong though and some of the songs seem a bit underdeveloped which is a shame. Otherwise I will conclude by saying the following, that I consider this movie to be highly recommende.

Elani Eden is drop-dead BEAUTIFUL! Buy this movie just to look at her.I hope this comes out on DVD soon.

While I concur that English actress Flora Robson playing a "mulatto" is stretching things a bit, her studied performance, as well set decorations, is the only reason that this Cooper/Bergman vehicle is tolerable.

Robson had an extremely long career on the stage and in film, comparable to contemporary Dame Judith Anderson. By portraying the role of Bergman's maid, she joined a rather short list, including Lord Olivier ("Othello") and Ava Gardner ("Showboat"), of white actors "passing" as black.

Hey, it was the norm, back in the day. "Saratoga Trunk" was no different from most era westerns or historical dramas in the practice of white actors portraying persons of color.

Ingrid Bergman plays Clio Dulaine, the half-Creole illegitimate daughter of a new Orleans aristocrat, who returns to the Crescent City from Paris after her mother's death to revenge herself on her father's family. While she succeeds in humiliating the Dulaines, she flirts with Texas gambler, Colonel Clint Marron (Gary Cooper). He is not thrilled by her need for revenge and heads off to Saratoga Springs. Clio eventually shows up, pretending to be a French noblewoman in an attempt to get a rich husband, setting her sights on railroad tycoon Bart Van Steed (John Warburton). But we all know who is really the right guy for her. Bergman, a brunette for this film, certainly finds the sexy Clio to be a nice change of pace from the nuns and cool refugees from the continent she had been playing of late. Unfortunately, the melodrama offers nothing new and Bergman ends up with Gary Cooper because, well, he is Gary Cooper; a bit roguish, but still a pillar of strength and virtue. All the sparks are on her side of the equation. "Saratoga Trunks" is based on a novel by Edna Ferber. Flora Robson received an Oscar nomination for Best Supporting Actress for role as Angelique, Clio's attendant, in this 1945 film was directed by Sam Wood.

This, in my opinion, is a wonderful movie. Ingrid Bergman is glorious and simply ravishing and Gary Cooper as handsome as ever. A must see in my book.

This film took me off guard. Being a big Bond fan, I watched it only for Moore. Not only was this one of his best performances ever, this film was a damn good action movie. James Mason and Anthony Perkins add great support. How could you not like a guy who loves cats and hates women? Ffolkes is the man!

This has long been a favorite of mine, and I am thrilled to see it on DVD. A totally opposite, non-Bond role for Roger Moore, he plays it to the hilt. Anthony Perkins is also very good.

Ffolkes is one of my all-time favorite movies. A while back, I purchased the VHS version and it looked like it was an old bootleg! The picture and audio quality was the worst I had ever seen on an official release! Needless to say, I was very happy to hear that it was going to be released on DVD, and I can imagine that the picture and audio quality will be up to DVD standard. As far as the film goes, it has a great cast and a great mix of drama, action, and humor! In a role which is very different from his James Bond persona, Moore pulls off the grumpy, cat-loving action hero perfectly! Also watch for outstanding performances from the late Anthony Perkins and James Mason. The story revolves around a group terrorists (headed by Anthony Perkins) who hijack a boat in the North sea, and threaten to blow up a couple of oil rigs if the British government do not meet their demands. Ffolkes (played by Roger Moore) is brought in to thwart the hijackers' plans. The story is a unique twist on the terrorist/hostage theme which has become so commonplace in recent years, and being made in 1980, this movie can only be viewed as a true original which should not be missed!

This has long been a favorite of mine, and I am thrilled to see it on DVD. A totally opposite, non-Bond role for Roger Moore, he plays it to the hilt. Anthony Perkins is also very good.

Ffolkes is one of my all-time favorite movies. A while back, I purchased the VHS version and it looked like it was an old bootleg! The picture and audio quality was the worst I had ever seen on an official release! Needless to say, I was very happy to hear that it was going to be released on DVD, and I can imagine that the picture and audio quality will be up to DVD standard. As far as the film goes, it has a great cast and a great mix of drama, action, and humor! In a role which is very different from his James Bond persona, Moore pulls off the grumpy, cat-loving action hero perfectly! Also watch for outstanding performances from the late Anthony Perkins and James Mason. The story revolves around a group terrorists (headed by Anthony Perkins) who hijack a boat in the North sea, and threaten to blow up a couple of oil rigs if the British government do not meet their demands. Ffolkes (played by Roger Moore) is brought in to thwart the hijackers' plans. The story is a unique twist on the terrorist/hostage theme which has become so commonplace in recent years, and being made in 1980, this movie can only be viewed as a true original which should not be missed!

I first saw this movie on British television (under its overseas title of "North Sea Hijack") and it ranks for me personally as my favorite Roger Moore movie. When I learned it was finally going to make its way onto DVD I was ecstatic.
In this fun action-adventure Roger Moore leads a commando team that must come to the rescue of two oil rigs in the North Sea and a Norwegian cargo vessel that have been targeted with booby trapped bombs. Playing very much against type Moore's eccentric character "Ffolkes" doesn't like women and instead enjoys the company of cats.
The supporting cast of this movie is also extraordinary. James Mason plays a naval commander, David Hedison is the executive for the oil company and Anthony Perkins is the head of the terrorists. It is a tense, suspenseful adventure with the occassional light touch of humor and I highly recommend it.

This film took me off guard. Being a big Bond fan, I watched it only for Moore. Not only was this one of his best performances ever, this film was a damn good action movie. James Mason and Anthony Perkins add great support. How could you not like a guy who loves cats and hates women? Ffolkes is the man!

This has long been a favorite of mine, and I am thrilled to see it on DVD. A totally opposite, non-Bond role for Roger Moore, he plays it to the hilt. Anthony Perkins is also very good.

Ffolkes is one of my all-time favorite movies. A while back, I purchased the VHS version and it looked like it was an old bootleg! The picture and audio quality was the worst I had ever seen on an official release! Needless to say, I was very happy to hear that it was going to be released on DVD, and I can imagine that the picture and audio quality will be up to DVD standard. As far as the film goes, it has a great cast and a great mix of drama, action, and humor! In a role which is very different from his James Bond persona, Moore pulls off the grumpy, cat-loving action hero perfectly! Also watch for outstanding performances from the late Anthony Perkins and James Mason. The story revolves around a group terrorists (headed by Anthony Perkins) who hijack a boat in the North sea, and threaten to blow up a couple of oil rigs if the British government do not meet their demands. Ffolkes (played by Roger Moore) is brought in to thwart the hijackers' plans. The story is a unique twist on the terrorist/hostage theme which has become so commonplace in recent years, and being made in 1980, this movie can only be viewed as a true original which should not be missed!