When a former member of the U.S. Army Special Forces (The Rock) returns to his small hometown and finds it besieged by drugs and violence, he becomes the sheriff to put things right.
When John Travolta first opens his mouth during the opening credits of The General's Daughter and speaks in a terrible Southern cracker drawl, one briefly hopes the movie will turn out to be just as hilariously bad. Unfortunately, the accent is soon revealed to be part of a disguise, and the movie is just as quickly unveiled as a clumsy, run-of-the-mill potboiler, too mediocre to be truly hysterical fun. A female officer is discovered strangled and tied to the ground; she's the title character, and because of the general's political ambitions, the mystery of who did it and why has to be wrapped up in 36 hours by Travolta and fellow CID officer Madeleine Stowe (Last of the Mohicans, 12 Monkeys). Sexual violence and lurid S&M have been thrown in to shore up the incomprehensible plot, but that only adds to the queasy atmosphere. The supporting actors--an impressive collection including James Woods (Salvador), Timothy Hutton (Ordinary People), and James Cromwell (Babe, L.A. Confidential)--don't embarrass themselves, but even they can't make sense of their blustering, macho dialogue. It's amazing that, screenwriter William Goldman (who wrote such great and genuinely thrilling films as Butch Cassidy and the Sundance Kid, Marathon Man, All the President's Men and Misery) left his name attached to this script; there's no sign of his usual skill and intelligence. Madeleine Stowe, a graceful presence in any film, is equally wasted. It was directed with a lot of empty flash by Simon West (Con Air). --Bret Fetzer, Amazon.com
Winona Ryder and Ben Chaplin star in this supernatural thriller about Satanic plans to bring the devil to earth.
This is a love story waiting to explode. Brooklyn NYC. Franklin Swift is a construction worker who's rarely more than one step away from the dole queue. Zora Banks is a music teacher who dreams of becoming a singer/songwriter. From different worlds a chance encounter throws the pair together - the attraction is instant and it's not long before the unlikely lovers move in together. At first they're lost in their passion for each other but all too soon real life begins to take its toll. Money is tight Franklin's past catches up with him while Zora reveals a frightening secret of her own...
In the sweltering summer of 1965 everybody in Alabama went completely crazy especially 12-year-old Peejoe's glamorous Aunt Lucille. When she got rid of her abusive husband and hit the road to fulfill her dreams of Hollywood she left Peejoe with one explosive secret. And as she tried to outrun the long arm of the law on her hilarious journey Peejoe was left behind to discover which secrets are worth keeping in this poignant comedy about freedom and why it's always worth whatever it costs. Antonio Banderas' directorial debut.
It's clear why Melanie Griffith saw Mark Childress's bestselling book Crazy in Alabama, as the perfect vehicle for herself. The role of Lucille, a beautiful, battered wife in rural Alabama who dreams of glamorous movie stardom, is tailor-made for her. Griffith's husband, Antonio Banderas, has done quite a respectable job guiding her in this, his directorial debut; her performance--compelling, funny, and warm--is her best since Something Wild. (She also looks simply smashing.) Otherwise, the film is a curious amalgam of genres: an antic, surreal Southern Gothic comedy combined with a deadly serious civil-rights parable. As the movie opens, in the summer of 1965, Lucille (Griffith) has just murdered her abusive husband and is blowing town for Hollywood with his head in a Tupperware container. Scenes of her wacky cross-country road trip are interspersed with incidents back in Alabama involving clashes between protesting blacks and murderously intolerant whites. One can't imagine how these two seemingly disparate narrative lines will come together, but they do, in a surprisingly effective manner. The moral of both stories turns out to be: "You can bury freedom, but you can't kill it". Stand-out performances by Robert Wagner, as Lucille's Hollywood agent; Rod Steiger, as a quirky Southern judge; Lucas Black (Sling Blade) as Lucille's highly principled young nephew; and, believe it or not, Meat Loaf, as a brutal, bigoted Southern sheriff give the film an additional boost. --Laura Mirsky
A band of ruthless outlaws try to force out the townsfolk in a small community after gold is discovered there. But one brave man stands in their way in this tense film one of John Wayne's best early works...
A band of ruthless outlaws try to force out the townsfolk in a small community after gold is discovered there. But one brave man stands in their way in this tense film one of John Wayne's best early works...
Please wait. Loading...
This site uses cookies.
More details in our privacy policy