This is a dramatisation of the true story of Major Herbert Rowse Armstrong, a solicitor and magistrate's clerk who lived in the small Welsh town of Hay-on-Wye. In 1921 he was arrested and ...
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Will Graham is a gangster who has left the life of crime and is living in the countryside. He comes out of hiding to investigate the death of his brother when he learns that he committed ... See full summary »
Jonathan Rhys Meyers
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The story begins when three aliens get a bit hacked off at their 'friend' Bernard, who keeps making a prat of himself playing space ball. It is while he is playing space ball that the ... See full summary »
Joseph K. awakes one morning, to find two strange men in his room, telling him he has been arrested. Joseph is not told what he is charged with, and despite being "arrested," is allowed to ... See full summary »
David Hugh Jones
Hoping to cure his violent seizures, a man agrees to a series of experimental microcomputers inserted into his brain but inadvertently discovers that violence now triggers a pleasurable response his brain.
Martin Fallon is an IRA bomber who tries to blow up a troop truck but instead kills a bus load of school children. He loses heart and quits the movement and goes to London trying to leave ... See full summary »
This is a dramatisation of the true story of Major Herbert Rowse Armstrong, a solicitor and magistrate's clerk who lived in the small Welsh town of Hay-on-Wye. In 1921 he was arrested and charged with poisoning his domineering wife, Catherine, and later attempting to poison a business rival, Oswald Martin, by administering arsenic to them. At his trial, Armstrong claimed that he had bought the arsenic simply to kill the dandelions on his lawn. However he was convicted of murder and executed in 1922. Written by
Martin Underwood <firstname.lastname@example.org>
The Englishness of the production needs to be recognised
I notice that the two comments with an American address have found difficulty appreciating the "Englishness" of the portrayals and general directorial approach. One complains of the missed opportunity to delve into the psychological thriller possibilities of the plot. Surely the point is that it is not meant to be a thriller at all and that this is all the better for it. As for Sarah Miles' acting, few play neurotic and repressed better than her. This is mainly why the death so strongly elicits sympathy in the watcher however morally unacceptable. I felt the production was perfectly pitched, the acting uniformly on target and Michael Kitchen, outstanding, doing what he does best, stiff upper lip, repressed emotion, English social manners etc.
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