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I volunteer, in an unofficial capacity, that David Warner could play with intelligence and wit any part offered to him. Misogynistic art film buffs will fondly remember his uncredited role in Sam Peckinpah’s Straw Dogs, 80s comedy fans know him best as vampire hunting Professor McCarthy in My Best Friend is a Vampire, and a certain blog writer can’t choose between his best performances, as Evil Genius in Time Bandits and Jack the Ripper in Time after Time. Warner’s rugged, sculpted features and his Royal Shakespeare Company training have made him one of the most versatile and charismatic film actors, on par with other distinctive, powerful talents like Stephen Rea and Harvey Keitel. Warner gives his leading man performance in Morgan! with such ease and virtuosity, it’s incredible that he’s so often been relegated to smaller roles. His is a rather unlikeable character:  a juvenile underproductive artist with a complex involving gorillas and Communism, financially supported by his soon to be ex-wife. Vanessa Redgrave does a lot with a thin role as his rich, unappreciated spouse who has transferred her affections to Morgan’s oleaginous art dealer. Already suffering from (or in Morgan’s case thoroughly enjoying) delusions and fantasies, his wife’s ambivalent reaction to his attempts to win her back makes him lose his grasp of reality.

Morgan! is a seminal film in the Mod movement that flourished in England during a short period from the early to mid-1960s. Mod filmmakers like John Schlesinger, Richard Lester, and Karel Reisz transitioned from “kitchen sink” documentaries funded by the British government to Mod’s more vibrant, stylized aesthetic, some of them then continuing on to more commercial careers. While there has been controversy amongst sociologists as to whether the Mod movement was a working- class rebellion against mass-produced culture or an embracement of consumerism across class barriers, Mod filmmakers firmly posited Mod style as a youth-oriented rebellion against the previous generations mores, characterized in film by a stylized aesthetic and structure, portrayals of sexual liberty, and a quirky, if hit-or-miss sense of humor.

ELEC-TRON-IC A cheated and spurned former computer programmer, Kevin Flynn (Jeff Bridges), of computer company ENCOM has become an arcade owner and operator. While trying to reclaim his stolen work he enlists the help of two former coworkers and current employees of ENCOM, Lora (Cindy Morgan) and Alan (Bruce Boxleitner). However they are up against Dillinger (David Warner), ENCOM’s unrightfully elected man in control, and the even more controlling super computer known as Master Control Program (MCP). Master Control has been absorbing other programs, thus becoming stronger and stronger.

Flynn, Lora, and Alan break in to ENCOM and attempt to distract Master Control while Flynn hacks into Master Control’s system long enough to find his stolen work and get back out again. However, things take a turn when Master Control uses an experimental laser to literally digitize Flynn into the cyber world of its inner workings. Welcome to the world of TRON!