Karen Black Movies

Director Henry Jaglom explores the complex relationship between fathers and daughters, and the effects that it has on the relationships women develop later in life. ~ Jason Buchanan, All Movie Guide

One man's unguarded honesty threatens to destroy the longtime friendship between an aspiring screenwriter and a successful magazine editor in writer/director Russell Brown's blistering comedy about the high price of being truthful. Sam has written a screenplay. He believes the film he has dreamt up could be his ticket to the big time, but before anything else, he wants to get some feedback from his old friend David. David is a magazine editor who's currently at the top of his game. He doesn't think too much of Sam's screenplay, and his admission of this fact opens up a critical rift between the two longtime writers. As the tension begins spreading to other areas of both men's lives, they suddenly find themselves forced to confront their motivations for becoming writers in the first place. ~ Jason Buchanan, All Movie Guide

A failed composer takes in an aspiring novelist/dilettante, only to find himself pushed to the edge of insanity when his charity is taken for granted in this simmering black comedy from director Alan Cumming. John Vandermark (Cumming) has a sizable weak spot for handsome young artists. Upon meeting down-on-his-luck writer Sebastian St. German (David Boreanaz), the sympathetic musician is stirred to help the budding novelist by offering him room and board. It doesn't take long, however, for the generous host to realize that his good will is being trampled by his brash young tenant. When Vandermark discovers that St. German has been sleeping with every woman in sight while casually brushing off his own thinly-veiled advances, the stage is set for an explosive confrontation. ~ Jason Buchanan, All Movie Guide

A young man leaves his home and family in search of himself in this independent drama. America Brown (Ryan Kwanten) -- called "Ricky" by most of his friends -- was born and raised in a West Texas town where football is treated more like a religion than a game. Raised by a single mother (Karen Black), America's primary male role model has been his older brother Daniel (Michael Rapaport), who has drilled it into Ricky's head that it's his destiny to be a football star. But America has come to hate football, and especially loathes Bo (Leo Burmester), the manipulative coach of his high-school team. Desperate to get away from it all, America runs away to New York City, where he seeks refuge with John Cross (Hill Harper), a one-time football legend from West Texas who gave up the game to become a Catholic priest. As America looks to find a new life, he finds in Cross a man who is still haunted by his past and smitten with a woman in his congregation, Rosie (Élodie Bouchez). America, meanwhile, develops an infatuation of his own with Vera (Natasha Lyonne), a pretty but streetwise girl who waits tables at a neighborhood diner. America Brown was the first feature film from writer and director Paul Black; it was screened at the 2004 Tribeca Film Festival. ~ Mark Deming, All Movie Guide

Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.

Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide

A gaggle of young adults discovers a cache of gold in an abandoned mine. Little do they realize that the vengeful ghost of the long-dead miner (Vernon Wells) protects the hoard with a gaffing hook, pick axe, and shovel, despite the efforts of the sheriff (John Phillip Law) and zany Aunt Nelly (Karen Black). ~ Buzz McClain, All Movie Guide

Taking his cue from such 1970s horror classics as The Texas Chainsaw Massacre (1974) and The Hills Have Eyes (1977), animated rocker Rob Zombie goes celluloid with the throwback shocker House of 1000 Corpses. Running low on gas as they travel the highways of America in search of the ultimate roadside attraction, a group of teens pull into Captain Spaulding's (Sid Haig) museum of oddities (which also offers fried chicken and gasoline) only to become obsessed with uncovering the mystery of a legendary local maniac known only as Dr. Satan. When an attractive and mysterious hitchhiker subsequently offers to give the thrill seekers a personal tour of Dr. Satan's old stabbing grounds, a breakdown forces them to take refuge with a group of menacing oddballs as a fearsome storm rages outside. As the evening progresses and the backwoods hosts' Halloween festivities become ever more threatening, the teens soon realize that the legend of Dr. Satan may hold a bit more contemporary weight than any of them had previously thought. ~ Jason Buchanan, All Movie Guide

Troma Team Pictures, the independent production company who've taken a brave stand for creative tastelessness with such films as The Toxic Avenger, Sgt. Kabukiman N.Y.P.D., and Terror Firmer, launched their own film festival to provide a showcase for real independent filmmakers in the midst of the annual Utah chaos that is the Sundance, Slamdance, Slamdunk, Nodance, and other film festivals. Best of Tromadance Film Festival, Vol. 1 collects three hours worth of short films screened at the Troma-sponsored festival, which charges no entry fee to filmmakers and offers free admissions to all their screenings. Highlights include Deadbeats, which marked the first screen appearance of wrestling star Mick Foley; Kill Mr. Kinski, a short based on a number of strange stories about working with the brilliant but notoriously difficult actor Klaus Kinski; Psychotic Odyssey, a dramatization of the grim career of a real-life serial career, re-enacted using hand puppets; purposefully rancid children's show parody H.R. Pukenshette; and Los Vampirios Moronious, featuring Karen Black. The video also includes a documentary on the festival produced for the British television series Edge TV. ~ Mark Deming, All Movie Guide

Imaginary Z-grade 1960s exploitation film producer Morty Fineman (Jerry Stiller), who was responsible for such faux-works as Buddy Cops V: Hayseed and Toughnut, sci-fi blaxploitation flick The Foxy Chocolate Robot, and, of course, Heil Titler , is the focus for this mockumentary co-written and directed by Stephen Kessler). While Fineman struggles to make his latest effort, Ms. Kevorkian, about a gun-toting babe who's passionate about assisted-suicide, the bank wants to foreclose on his hallowed studio and sell his film archive for $8 a pound. In absolute desperation, he reaches out to his estranged daughter Paloma (Janeane Garofalo), who grudgingly agrees to be the president of his production company in spite of numerous moral qualms. Along the way, the film features interviews with such real-life luminaries as Peter Bogdanovich, Roger Corman, and blaxploitation stalwart Fred Williamson, that paints a picture of a relentlessly gung-ho producer whose work somehow manages to rise above nothing budgets and lackluster talent. They also highlight Fineman's penchant for hitting on his leading ladies; Karen Black recalled one incident by noting, "It helped to be drunk." This film was screened at the 2000 South By Southwest Film Festival. ~ Jonathan Crow, All Movie Guide

In Linda Kandel's comedy-drama Mascara, three friends find themselves dealing with the not always enjoyable prospect of turning 30 at a time when their lives are already unstable. Rebecca (Ione Skye) has trouble holding a steady job and has gone though a long series of affairs with older men. Her latest boyfriend, Nick (Steve Jones), is a middle-aged photographer who shows a less than wholesome interest in his ripening teenage daughter. Laura (Lumi Cavazos) has just ended a seven-month marriage with Donnie (Steve Schub), who helpfully maxed out all her credit cards before she dumped him. Laura works as a therapist, but she doesn't have much patience with other people's problems at the moment. And Jennifer (Amanda de Cadenet) has separated from her husband after discovering he had a mistress for a short time. Jennifer's response is to throw herself into a series of one-night stands with casual acquaintances and relative strangers -- one of whom she beats when their lovemaking gets too rough for Jennifer's liking. Mascara also features a supporting performance from Karen Black as Rebecca's Aunt Eloise, who has a habit of telling her what she either already knows or doesn't want to hear. ~ Mark Deming, All Movie Guide

Los Angeles suburbanites Quinn (James Wilder) and Laura (Kimberly Kates) host a backyard barbecue of co-workers, including a doctor (C. Thomas Howell), his wife (Erika Eleniak), rough-edged Barry (Jack Scalia), and winsome Jude (Karen Black), who was recently widowed when her executive husband was killed in a botched kidnapping. A confrontation with an irate neighbor (James Russo) turns ugly, and it seems there is more to the guest list than first thought. And then it gets uglier once the accusations fly -- much uglier. ~ Buzz McClain, All Movie Guide

In 1980 the U.S. Department of Defense named the Ada programming language in honor of Lord Byron's daughter, the mathematician Ada Byron King, Countess of Lovelace (1815-1852), credited as the "first computer programmer" because of her plan for calculating Bernoulli numbers. Lady Ada was 18 when she met Charles Babbage and learned about his Analytical Engine. She expanded his concepts into an 1843 article on the subject, and she also predicted the sound and graphics possibilities of computers. This science-fiction film features Ada Byron King as the central figure. Directed by video artist Lynn Hershman Leeson, the co-director of Shooting Script: A Transatlantic Love Story (1992), it also includes a few cast members known for cyber-communications, such as Timothy Leary (filmed nine days before his death) and John Perry Barlow (Grateful Dead lyricist and Electronic Frontier Foundation co-founder), plus "electronic Victorian" music by The Residents (who moved from pure sonic explorations to CD-ROM virtual experiences).

Artificial intelligence researcher Amy Coer (Francesca Faridany) uses cybertechnology tactics to probe the past in hopes of locating Ada Byron King (Tilda Swinton), her spiritual mentor. Receiving input, time-tracking tips, and guidance from cyber-guru Sims (Timothy Leary), Amy is successful, and the two women communicate over the centuries, although Ada is initially puzzled. Comparing notes, they find gender is a setback, since Charles Babbage (John O'Keefe) receives recognition while Ada's ideas are forgotten. Amy's research encounters roadblocks set up by her boyfriend Nicholas Clayton (J.D. Wolfe). Amy is pregnant and plans to name her child Ada, hoping that she can overcome the long-standing gender barriers. Shown at 1997 film festivals (Sundance, Toronto). ~ Bhob Stewart, All Movie Guide