Ellen McElduff Movies

Some six months after the cancellation of the popular, hard-hitting TV cop series Homicide, most of the cast members were reunited for a two-hour TV movie, which deftly (and somewhat surprisingly) combines stark, raw realism with Sartre-esque flights of fantasy. Several members past and present of the Baltimore Police Department's homicide squad are brought back together when their former skipper and current mayoral candidate, Al "G" Giardelli (Yaphet Kotto), is gunned down by a would-be assassin. As former partners Frank Pembleton (Andre Braugher) and Tim Bayliss (Kyle Secor) conduct their own personal search for the perpetrator, the comatose "G" discovers that not all police review boards are conducted by the living. Like its weekly predecessor, Homicide: The Movie was co-produced by Baltimore native Barry Levinson. The film made its first NBC network TV appearance on February 13, 2000. ~ Hal Erickson, All Movie Guide

Sheppard (Michael Michele) and Ballard (Callie Thorne) have trouble sustaining their objectivity as they investigate the death of a teenaged member of an all-girl street gang. Meanwhile, Billie Lou (Ellen McElduff) prevails upon her fiancé, Munch (Richard Belzer), to mediate in her neighbors' domestic disputes -- with devastating results. Series regular Richard Belzer's stepdaughter Bree Benton appears as Lizzie Solek in this episode, which was orginally scheduled to air on May 7, 1999. ~ Hal Erickson, All Movie Guide

A man is found murdered -- with his nose removed -- in his own backyard. To solves this case, Mike Giardello (Giancarlo Esposito) plumbs the depths of the Federal Witness Protection program, only to conclude that his FBI bosses aren't being up-front with him. Elsewhere, a bartender at a strip club is killed, the medical examiners "misplace" the identity of a corpse, and Gharty's (Peter Gerety) drinking increases. ~ Hal Erickson, All Movie Guide

A case that has remained unsolved for two decades is reopened when the decomposed body of an unidentified woman is found buried at a construction site. Meanwhile, a convalescing Sheppard (Michael Michele) is confined to desk duty until further notice. And the romance between Falsone (Jon Seda) and Ballard (Callie Thorne) heats up considerably, forcing Giardello (Yaphet Kotto) to warn the couple to "cool it" -- or face suspension. ~ Hal Erickson, All Movie Guide

Coroner Griscom (Austin Pendleton) alerts the homicide unit to the fact that several recent deaths have been caused by a poison named phospozine. FBI agent Mike "McGee" Giardello (Giancarlo Esposito) is put in charge of investigating this possible act of terrorism, whereupon tension develops between McGee and his father, Al (Yaphet Kotto), while Gharty (Peter Gerety) quietly and methodically traces the source of the poison. Meanwhile, Ballard (Callie Thorne) is none too pleased that the entire unit knows that she has dated Falsone (Jon Seda). And why is Munch (Richard Belzer) seeing a doctor? ~ Hal Erickson, All Movie Guide

Season seven of Homicide: Life on the Street begins not long after the Baltimore homicide unit's squad room has been renovated as a means of expunging all memory of the Mahoney shoot-out. Fully recovered from their wounds, detectives Tim Bayliss (Kyle Secor), Stuart Gharty (Peter Gerety), and Laura Ballard (Callie Thorne) are back on the job -- but Frank Pembleton and Tim Kellerman have resigned from the force and are gone forever (or at least Pembleton is). Among those expressing an interest in the department's newest detective, sexy ex-beauty queen Rene Sheppard (Michael Michele), is Meldrick Lewis (Clark Johnson), who has recently separated from his wife. The first case on the board concerns a series of slayings in Little Italy, including the murder of skipper Al Giardello's (Yaphet Kotto) cousin Mario. At the funeral for his cousin, Giardello endures an uncomfortable reunion with his son Mike (Giancarlo Esposito in his first series appearance), an Arizona-based FBI agent. It will, of course, not be the last time that the senior and junior Giardellos are brought together professionally. ~ Hal Erickson, All Movie Guide

Alfre Woodard reprises her St. Elsewhere role as Dr. Roxanne Turner in this episode of Homicide: Life on the Street. The homicide detectives are called in when a woman insists that her cancer-ridden brother was euthanized by Dr. Turner. In the interrogation room, Turner admits that she has frequently injected terminal patients with a lethal dose of morphine, leading to a variety of reactions from the detectives. Elsewhere, Stivers (Toni Lewis) and Falsone (Jon Seda) become personally involved in their investigation of a pizza-parlor holdup which resulted in the death of a schoolgirl. And, still hoping to spare the department from a multimillion dollar lawsuit, Kellerman (Reed Diamond) secretly tapes Judge Gibbons (Rick Warner) while they discuss Gibbons' ruling in the Luther Mahoney wrongful-death case. ~ Hal Erickson, All Movie Guide

This episode of Homicide: Life on the Street, originally telecast as two-hour special, has since been edited into two hour-long installments for syndication. In part one, Lewis (Clark Johnson) completely drops out of sight after being suspended for a heated confrontation with litigious drug dealer Georgia Rae Mahoney. The murder of a priest yields a bizarre videotape which may lead Munch (Richard Belzer) and Kellerman (Reed Diamond) to the suspected killers, a pair of young Guatemalan refugees. And Falsone (Jon Seda) continues to battle his ex-wife over custody of their son. ~ Hal Erickson, All Movie Guide

While investigating the possibility that an HIV-positive man was murdered by an embittered AIDs victim, Ballard (Callie Thorne) and Gharty (Peter Gerety) inadvertently dig up more information on the Luther Mahoney shooting. Elsewhere, the Waterfront Bar gears up for a big Christmas party, to which Bayliss (Kyle Secor) invites Cox (Michelle Forbes). And Munch (Richard Belzer) is unexpectedly reunited with his ex-wife, Gwen (Carol Kane), who is in town for the funeral of her mother, a much-despised literary agent. Author Peter Maas makes a cameo appearance as himself. ~ Hal Erickson, All Movie Guide

Howard Franklin wrote and directed this film noir character study based on the famed New York Daily News photographer Weegee. Joe Pesci plays a character named Bernstein, a freelance photographer for the New York City tabloids of the 1940s. His life is dedicated to his work; with a police radio under the dashboard of his car and a darkroom in his trunk, he quickly and efficiently races to the scene of crimes, accidents and murders to snap photographs of gangsters, politicians, cops, and prostitutes, which he promptly delivers to the newspapers. His knack for arriving at a crime scene before the police earns him the nickname the Great Bernzini. The trouble begins for Bernstein when he agrees to look up a gangster for Kay (Barbara Hershey), the sexy owner of a fancy Manhattan nightclub. After making inquiries, Bernstein traces the man Kay is looking for, but he turns up dead. When he informs the police, he becomes a suspect in the murder; it also turns out that the FBI is interested the case. Bernstein then uncovers an elaborate conspiracy concerning gas rationing, the mob, and the government. ~ Paul Brenner, All Movie Guide

The November 22, 1963, assassination of U.S. President John F. Kennedy shocked the nation and the world. The brisk investigation of that murder conducted under the guidance of Supreme Court Justice Earl Warren distressed many observers, even though subsequent careful investigations have been unable to find much fault with the conclusions his commission drew, the central one of which was that the assassin, Lee Harvey Oswald, acted alone. Instead of satisfying the public, one result of the Warren Commission Report was that an unimaginable number of plausible conspiracy theories were bruited about, and these have supported a sizeable publishing mini-industry ever since. In making this movie, director Oliver Stone had his pick of supposed or real investigative flaws to draw from and has constructed what some reviewers felt was one of the most compelling (and controversial) political detective thrillers ever to emerge from American cinema. Long before filming was completed, Stone was fending off heated accusations of artistic and historical irresponsibility, and these only intensified after the film was released. In the story, New Orleans District Attorney Jim Garrison (Kevin Costner) is convinced that there are some big flaws in the investigation of Oswald (Gary Oldman), and he sets out to recreate the events leading up to the assassination. Along the way, he stumbles across evidence that a great many people had reason to want to see the president killed, and he is convinced that some of them worked in concert to frame Oswald as the killer. Among the suspects are Lyndon Baines Johnson (the next president), the CIA, J. Edgar Hoover, and the Mafia. Over the course of gathering what he believes to be evidence of a conspiracy, Garrison unveils some of the grittier aspects of New Orleans society, focusing on the shady activities of local businessman Clay Shaw (Tommy Lee Jones). Garrison's investigations culminate in his conducting a show trial that he knows he will lose and which he is sure will ruin his career in order to get his evidence into the public record where it can't be buried again. This movie won two of the many Academy Awards for which it was nominated: one for Best Photography (Robert Richardson) and the other for Editing (Joe Hutshing). ~ Clarke Fountain, All Movie Guide

The Desperate Hours directed by Michael Cimino, is an attempt to remake the Humphrey Bogart classic of the same name with indifferent results. Bosworth (Mickey Rourke), a brutal criminal on the run with his partners, takes over a house occupied by an unhappily married couple Nora (Mimi Rogers) and Tim (Anthony Hopkins) and their young son and daughter. Bosworth has escaped from jail with the help of his defense attorney Nancy Breyers (Kelly Lynch). The film focuses on the interactions of the family and Bosworth as he plans his escape to Mexico. Cimino wastes little time in developing the characters or explaining the implausible premise that Bosworth would chose an occupied house and hold an innocent family captive when the logical choice would be to lay low and wait for his chance to escape. Both Hopkins and Rourke, usually excellent actors, give wildly over-the-top performances, aided by the lurid, over-written dialogue of the screenplay and the badly paced, ill-conceived direction by Cimino, which instead of creating tension and suspense, simply confuses the already muddled and incomprehensible plot. The Desperate Hours is a pale example of the original with little to recommend it. ~ Linda Rasmussen, All Movie Guide