Seth Wagerman Movies

Joanna Crane (Kathleen Turner) is a cold, workaholic sportswear designer, divorced and dedicated only to her job. Once strapped into that role, Joanna looks for an "out" and finds it by donning a wig and hitting the pavement as a $50/trick hooker named China Blue. Explicit scenes show her at work on her night job, including a long S and M segment with a policeman. While making money as China Blue, Joanna runs into a menacing, fanatic preacher (Anthony Perkins) who is out to save her from this life of sin, but in the meantime, he is also busy watching nude girly shows. As China Blue and the sexually ambivalent Reverend heat up their relationship, he becomes difficult to read: is this psycho reverend a killer? While China Blue is plying her trade, Bobby Grady (John Laughlin) has finally realized after 12 years of marriage that his wife Amy (Annie Potts) is frigid and just as he has this remarkably delayed insight, he is assigned by Joanna's boss to find out if she is stealing designs or not. By tracking Joanna, Bobby sees her transformation as China Blue and as might be expected, sex is not far behind. ~ Eleanor Mannikka, Rovi

Everyone is a stereotypical extreme in this sometimes mean-spirited black comedy about the vicious staff at an orphanage, the garrulous punk kids who live there, and the pretentious overblown rich couple who adopt one of the orphans -- this is not a happy world. In the Bleeding Heart Orphanage, Sister Serene (Anne De Salvo) applies all the mental and emotional restrictions she can to her wild charges, while Kurtz (Murphy Dunne) applies the electric cattle prod. When one of the children (all around 10 years old, more or less) is adopted by Mr. and Mrs. Fitzpatrick (Martin Mull and Karen Black), his cohorts come to rescue him from the terrors of an upper-class Santa Barbara existence -- and subsequent mayhem ensues. With a low-brow, low-budget approach, the premises are obviously meant to key in to the slapstick characterizations, but for some viewers, even the comic moments may not assuage the meaner undertones of the film. ~ Eleanor Mannikka, Rovi

Old-time Hollywood director Vincent Sherman brings a glossy studio-bound look to The Dream Merchants, a two-part, four-hour adaptation of Harold Robbins' novel. The story follows the career of a pioneer filmmaker (Mark Harmon), who comes to Hollywood in the early 20th century with a pocketful of dreams and helps build the sleepy California orange-grove community into the world's entertainment capital. Typical of the Harold Robbins ouevre, most of the characters are based on real-life movie personalities: Robert Goulet's vainglorious matinee idol is a combination of John Barrymore and Douglas Fairbanks, while Vincent Gardenia's vitriolic mogul can be taken as a low-budget Louis B. Mayer. The film is rife with historical inaccuracies (Goulet is informed that the closeup has "just been invented by D. W. Griffith" as a means to convince him to sign a long-term contract assuring him plenty of closeups!), while the haircuts and speech patterns are firmly locked into the 1980s. All the same, The Dream Merchants was a profitable entry in the syndicated "Operation Prime Time" series of TV specials. ~ Hal Erickson, Rovi