Grace Zabriskie Movies

"Death by typewriter" is the coroner's verdict when the body of a man is found. Elsewhere, a naked female corpse, dumped in a junkyard, leads Simone (Jimmy Smits) and Sipowicz (Dennis Franz) on another far-from-merry chase, and still-wobbly Gina (Lourdes Benedicto) returns to work. Outside the precinct, Simone hires the mercurial Henry (Willie Garson) to paint the apartment building, leading to a confrontation with an angry tenant (Maxine Stuart); and Diane (Kim Delaney) begins her counselling sessions. ~ Hal Erickson, Rovi

In this made-for-television drama a mother tires to learn the truth about her college-age son following the murder of a neighborhood girl. ~ Sandra Brennan, Rovi

In this family drama, a white Southerner discovers that his family history isn't what he thought it was -- with the fact that he's half-black only one of his many surprises. Earl Pilcher, Jr. (Robert Duvall) runs a gas station in Arkansas; he's a typical middle-aged Southern man who likes his pickup truck and loves his momma. Shortly after his mother's death, he receives some very unexpected news; she wasn't really his mother after all. It seems that years ago, Earl Sr. (James N. Harrell) raped the family's African-American maid, Willie Mae, who nine months later died while giving birth to Earl Jr. To avoid further scandal, Mrs. Pilcher simply raised Earl Jr. as her own. While the family has kept the matter a secret all these years, Earl Jr. has a half-brother living in Chicago, and it was his mother's wish that the two should some day meet and become friends. Earl travels to Chicago and tracks down Ray Murdock (James Earl Jones), a veteran police officer and Willie Mae's other son. Earl Jr. quickly learns that Ray has little interest in getting to know him better; he knows all the facts behind the matter, and he's always blamed Earl for the death of his mother. However, Earl Jr. isn't used to life in a big city up north, and after he's mugged and carjacked, Ray grudgingly takes in his half-brother, letting him stay in the home he shares with his son Virgil (Michael Beach) and Aunt T. (Irma P. Hall), who raised Ray as a boy. A Family Thing was written by Billy Bob Thornton shortly before his breakthrough as writer, director, and star of Sling Blade. ~ Mark Deming, Rovi

For his second outing as a director, filmmaker Philip Ridley once again enlisted the talents of Viggo Mortensen, who starred in Ridley's debut, The Reflecting Skin, and co-stars here with Ashley Judd and Brendan Fraser. Fraser plays Darkley Noon, a disturbed young man who received a sheltered upbringing from his strict Christian parents. When the elder Noons pass on, Darkly wanders off aimlessly until he is picked up by a passing truck driver named Jude (Loren Dean). Jude leaves the physically worn Darkly with Callie (Judd) and Clay (Mortensen), a young married couple. As Callie cares for Darkly, he begins to develop romantic and sexual feelings for her, feelings that threaten to turn violent when Darkly is taunted by the love between Callie and Clay. ~ Matthew Tobey, Rovi

The precinct investigates the killing of a bookie. Donna (Gail O'Grady) returns to work, and her temporary replacement John Irvin (Bill Brochtrup) moves upstairs to the anti-crime unit. Simone (Jimmy Smits) has no further use for unreliable murder witness Joyce (Susanna Thompson), but she continues to obsess over him. Andy Sipowicz (Dennis Franz) suspects that undercover cop Russell (Kim Delaney) is a drinker. And Sipowicz and Sylvia (Sharon Lawrence) have a soul-baring session with her priest. ~ Hal Erickson, Rovi

What does a biographer do when the truth about his subject is far less pleasant than the legend? That is the moral dilemma at the heart of Cobb, which explores the lives of both baseball's premier hitter, Ty Cobb (Tommy Lee Jones), and the sportswriter assigned to set his story down, Al Stump (Robert Wuhl). Stump arrives at the Tahoe home of the dying Cobb to write the official life story of the first man inducted into the Baseball Hall Of Fame. He finds a drunken, misanthropic, bitter racist who abuses his biographer as well as everyone else. Stump must either candycoat his subject's life or present an accurate picture of a disgusting man who happened to become an American sports hero. The movie's biting focus on Cobb, ferociously performed by Jones, is not matched by its weaker representation of Stump, an imbalance which ultimately weakens the film's overall effect. ~ Don Kaye, Rovi

Wesley Snipes is battling bad guys in the air again, this time with parachutes, in this action-packed suspense thriller. Pete Nessip (Snipes) is a Federal Marshall who, teamed with his brother Terry (Malcolm-Jamal Warner), is escorting criminal computer genius Earl Leedy (Michael Jeter) to a new prison facility. Pete, Terry, and Earl are on a jet en route to Earl's new lockup when terrorists attempt a daring hijacking; Terry is killed in an explosion aboard the plane, and suddenly Earl is missing. Pete discovers that a team of sky-diving outlaws, led by former DEA agent gone bad Ty Moncrief (Gary Busey), have snatched Earl from his flight and spirited him away for a special raid on Washington D.C.; Ty and his men intend to take advantage of an obscure rule in which the normally restricted airspace in Washington D.C. is open to parachute enthusiasts on July 4. Eager to avenge his brother's death and put both Ty and Earl behind bars, Pete recruits sky-diving expert Jessie Crossman (Yancy Butler) to teach him how to infiltrate Ty's team of sky-bound criminals. Superb aerial stunt work highlights this film; please note that Pete's last name is an anagram for the leading man's last name. ~ Mark Deming, Rovi

The full title of this derivative comedy is Hometown Boy Makes Good. A pre-ER Anthony Edwards plays a young medical student who sends home glowing success reports to his mother. In reality, Edwards is washing dishes rather than scrubbing up. Deciding to return home and confess all, our hero is ordered to set up a psychiatric practice by the town mayor. Despite his protests, Edwards become the community's resident "shrink"-and, amazingly, his highly uniformed technique works! It's essentially Hail the Conquering Hero and Doc Hollywood rolled into one, but it's fun. ~ Hal Erickson, Rovi

This passable made-for-cable-TV vampire opus explores the clever concept of a Transylvanian immigrant community in the western United States. Young Cody (Jason London) is introduced to their legacy one fateful night when his parents are awakened, staked, and set on fire by ruthless vampire-hunters. After a narrow escape, Cody seeks out a distant uncle in Long Beach -- who happens to be a key figure in the "Carpathian-American" mob. Cody is eventually inducted into the culture, which is represented by various social strata, from a lawyer/journalist couple (who encourage further assimilation into non-vampire society), to a bloodsucking teenage biker gang. Cody becomes a full-fledged member of the family, learning the real secret which binds the community... but the new path to his destiny is soon blocked by the untimely arrival of the hunters, who have tracked him cross-country to his new family's Long Beach lair. This was originally conceived as a pilot for a TV series, and it shows -- the tendency to lapse into soap-opera conventions is all too apparent -- but benefits from a glossy look, high production values and some interesting plot twists. ~ Cavett Binion, Rovi

David Lynch's prequel to his cult television series "Twin Peaks" concerns the last seven days in the life of Laura Palmer (Sheryl Lee), whose plastic-wrapped corpse, found floating in a river, was the fulcrum for the television series. During the day in the town of Twin Peaks, Laura is a top honors student at the local high school. By night, she is a sex-crazed cokehead, prostituting herself at a sleazy sex club to get money to feed her drug habit. Her race to oblivion is fueled by her father, Leland (Ray Wise), who, as his alter ego Bob (Frank Silva), has been sexually abusing Laura since she was a child. But Laura has an attack of conscience when she realizes that she is leading her best friend Donna (Moira Kelly) down the same rocky road. Leland, however, discovers Laura's nocturnal debauchery when, during a business trip out-of-town, his mistress for a sexual tryst sets him up with his own daughter. In a fit of jealous rage, Leland follows Laura as she travels to a sex party in an abandoned railroad car. Consumed by insatiable longing, Leland transforms himself into Bob, with tragic results for Laura and her friends. ~ Paul Brenner, Rovi

The Bonds of Love in this made-for-TV drama are those forged between divorcee Kelly McGillis and mentally disabled Treat Williams. What begins as a friendship between two lost souls blossoms into a deep and genuine romance. Their wedding plans are challenged by his mother (Grace Zabriskie) and father (Hal Holbrook)-who are not depicted as villains but merely well-meaning and overprotective (only Williams' brother, played by Steve Railsback, comes off in negative terms). Based on a true story, Bonds of Love is set in Kansas (though it was lensed in Ontario). The film premiered January 24, 1973. ~ Hal Erickson, Rovi

In this thriller, a poor aspiring rock singer earns a steady wage at night working as a phone-sex girl. Trouble comes in the form of a wacko-caller who talks with her on the phone while murdering another woman. Now it seems he's after her. Fortunately a loner cop shows up and enlists her aid in trying to capture the killer. ~ Sandra Brennan, Rovi

Lou Diamond Phillips stars in this contrived but entertaining thriller (which he also wrote) as Mitchell Osgood, an aspiring writer who runs a Los Angeles bookstore. When a heartfelt book about his father Haing S. Ngor fails to win him a publishing deal, Osgood decides to write something more eye-catching -- a book about recently-released serial killer Albert Merrick Clancy Brown. The media beats him to it, so the ruthlessly ambitious Osgood decides to spur Merrick to commit more crimes, hiring him to work at the bookstore and playing cruel mind games in hopes of setting Merrick off. He does, but the results are quite different from what Osgood had anticipated. Phillips' performance is weak, and the screenplay is predictably bland, but the film remains worthwhile thanks to a terrific job by Brown as the killer. Brown has turned in a number of fine psycho performances, but he has rarely been better than he is here, building from understated diffidence to full-blown psychosis in expert fashion. Grace Zabriskie and Willard E. Pugh co-star with Cecilia Peck. ~ Robert Firsching, Rovi