Mia Sara Movies

Ron Perlman, Mia Sara, and Robert Vaughn star in this period comedy concerning a neglectful gangster father and the troubled ten-year-old son who strives to botch dad's dealings with a dangerous gangster. 1930s-era gangster Charlie (Perlman) was never too big on father/son bonding, and as a result his ten-year-old son, Archie (Myles Jeffrey), has grown to become more than a little unruly. Unfortunately for Charlie, the day he sets out to clear a debt with Benny (Vaughn) is also the day he's left to care for the mischievous Archie. A feared Mafia kingpin whose notorious lack of patience has resulted in him sending more than a few small-time hoodlums to sleep with the fishes, Benny is a no-nonsense businessman who doesn't take kindly to childish games. When Archie gets in the way of Charlie's desperate efforts to clear his name with the dreaded gangster, the wrath of Benny sends both father and son running for their lives. ~ Jason Buchanan, Rovi

Wealthy businessman Jack Robinson (Matthew Modine) is building a new casino on the site of the family castle in England when the construction crew makes a startling discovery: They find the skeleton of a gigantic human being. Soon, foul weather and natural disasters occur at an unnatural rate. Countess Wilhelmina (Vanessa Redgrave) tells Jack that he's related to young Jack (J.J. Feild) who, 400 years ago, climbed a vine into the sky and came back with a goose that lays golden eggs and a harp that can play itself. Disbelieving, Jack encounters the lovely Ondine (Mia Sara), a mysterious woman who says she's 10,000 years old and that the evil weather can be stopped -- in fact, the world can be saved -- if Jack goes to the land in the sky with her to stand trial for his ancestor. ~ Buzz McClain, Rovi

The second of two network-TV adaptations of Jules Verne's speculative 1868 novel 20,000 Leagues Under the Sea, this two-part ABC version originally aired on May 11 and 12, 1997, some two months after CBS's shorter -- and infinitely more faithful -- version. The year is 1886, and an unknown "creature" is terrorizing the high seas, causing merchant vessels to vanish without a trace. Enlisted by the U.S. government to find out what's really going on, oceanographer Pierre Arronax (Patrick Dempsey) and rough-hewn whaler Ned Land (Bryan Brown) set sail for uncharted waters. Ultimately, they are captured by the insane but honorably motivated Captain Nemo (Michael Caine), the inventor of the high-teach submarine Nautilus. This much can be found in the original novel. The rest of the film has less to do with Jules Verne than its does with the popularity of such theatrical features as Star Wars and Titanic, not to mention the then-prevalent specter of political correctness. Because he wants nothing more out of life than to slaughter whales, Verne's nominal hero Ned Land is transformed into the main villain -- while Pierre Arronax comes off none too sympathetically himself, depicted in an early scene as a wanton womanizer who sleeps with his own father's mistress. Also, a bit of gratuitous romance is thrown into the proceedings, with Captain Nemo suddenly acquiring a daughter, and another woman joining the storyline when the Nautilus makes a side trip to the lost city of Atlantis. Finally, what with Verne's good guys turning bad and Captain Nemo clearly certifiable, a new "hero" is introduced in the form of African-American crewman Cabe Attucks (Adewale Akinnouye-Agbaje). Oh, and did we mention that Nemo is actually a half-cyborg and a former Indian prince? This "new and improved" 20,000 Leagues Under the Sea is only slightly less ridiculous than the 1916 silent film version, which also managed to add a love interest and a spectacular "flashback" sequence straight out of 1001 Arabian Nights. ~ Hal Erickson, Rovi

In this psycho-thriller, a little girl and her mother find themselves the focus of a crazed couple's delusions. The horror begins after Cassie has a fight with her husband David and takes off in the car with their young daughter Samantha. Cassie takes a wrong turn and ends up in the home of the evil Mr. and Mrs. Because Cassie and Samantha closely resemble relatives the couple recently lost, the duo hold the frightened mother and daughter captive in their home. Soon the two victims find themselves psychologically and physically abused, particularly Cassie who is threatened with torture and rape. Will David find them before the Scudders kill them both? ~ Sandra Brennan, Rovi

This lively and complicated romantic comedy-drama centers on four fellows. Runyon is a poet carrying a torch for Kathryn; he flies to LA to talk about scripting a movie and is accompanied by the lovely Tarzaan. Gadabout Josh is seen having a fling with a Chinese hat-check girl and pursuing Cynthia; despite his womanizing, he also still cares for his ex-wife Gina, the sister of Phil, a plumber and owner of a hardware store who is married with two children. Phil is in a quandary because he finds himself lusting for a sophisticated English coquette who just might be interested in him. Meanwhile, therapist Mark is utterly wrecked over a difficult relationship with Tasha. The title of the film comes from a line in rocker Steve Miller's song, "The Joker". ~ Sandra Brennan, Rovi

Working-class espionage-agent Harry Palmer returns in this spy thriller. The story begins in London after a murder occurs during a demonstration at the North Korean embassy. Palmer, who was supposed to ensure nothing happened, fears repercussions from his higher-ups. They tell him that since the Cold War has ended, he and the senior spies have become redundant and are therefore placed on accelerated retirement. He then receives a mysterious phone call from a person wanting to meet him. They make an arrangement and the rendezvous occurs beside a river. There Palmer is given a plane ticket to St. Petersburg and an envelope stuffed with American $100 bills. He decides to go and, after a chase, ends up with Alexei, a recently released KGB spy. Unlike Palmer, Alexei received generous compensation for his years of devoted service. Palmer's new boss assigns him to find a stolen vial of a virulent, fatal virus, The Red Death, that has been sent to the North Korean embassy in Beijing. All he knows for sure is that the virus is aboard the Trans- Siberian Express. Palmer is assisted by Nikolai, Natasha and an ex-CIA agent. Along the way, the spies double and triple cross each other. ~ Sandra Brennan, Rovi

This version of Jack London's classic adventure was made for television and stars Rick Schroder as the inexperienced young prospector who heads northward for the Klondike gold-rush of 1897. While in the rugged territory he becomes friends with Buck, a courageous German Shepherd being used as a sled-dog. ~ Sandra Brennan, Rovi

When a Jewish jeweler is found dead and his store is missing more than one million dollars in diamonds, a New York police detective (Melanie Griffith) goes undercover in a community of Hasidic Jews to find the criminal. Once she is immersed in the community, she falls in love with one of the most devout members, who helps her find the criminal. ~ Stephen Thomas Erlewine, Rovi

When a woman murdered over fifteen years ago is again found dead, a small-town Arizona policeman (John Beck) must solve the case without stepping on the tender toes of procedure, courtesy of a federal agent from Phoenix (Steven Bauer). ~ John Bush, Rovi

This animated adventure, based on the novel by Jack London, follows the friendship between a young boy and his dog in 19th-century Alaska. ~ Kristie Hassen, Rovi

This made-for-cable vampire potboiler is distinguished mainly by the presence of director Stuart Gordon (of Re-Animator fame) and a sadly pallid looking Anthony Perkins in one of his last roles. Radiant Mia Sara plays schoolteacher Catherine Thatcher, whose trip to Budapest in search of her father (whom she has never met) reveals the grim underbelly of Romanian society in the dark days of Ceausescu. In an interesting twist, the dictator's sadistic secret police have become a veritable den of vampires (a barb-tongued breed dating back to Medieval times). Plots within plots unfold to reveal the true identity of Catherine's father. Gordon makes good use of authentic locations and somber atmosphere, blending the standard gothic look with a feel of social and spiritual decay -- but the bland script fails to exploit the metaphorical possibilities of this setting, and the silly horror effects make it hard to take seriously. ~ Cavett Binion, Rovi