Mel Bourne Movies

Director Sidney Lumet has remade the 1980 movie by his contemporary, John Cassavetes, casting Sharon Stone in the role of Gloria (portrayed in the original by Cassavetes' wife, Gena Rowlands), a street-toughened woman sliding into middle age. When the neighbors are murdered by a group of mobsters, one of which is a former boyfriend, Gloria takes the couple's seven-year-old son (Jean-Luke Figueroa) on the run. In time, she learns why the boy's parents were killed, and maybe just a little about herself. Sidney Lumet, director of '70s classics Network and Dog Day Afternoon, focuses more on the relationship between Gloria and the boy than did the original. Coincidentally, this would make the film very similar to the Brazilian Central Station, released at virtually the same time. ~ Ron Wells, Rovi

The feminist outrage of Thelma & Louise (1991) screenwriter Callie Khouri blended superbly with director Lasse Hallstrom's predilection for stories about idiosyncratic families in this effective comedy-drama. Julia Roberts stars as Grace King Bichon, a prim small-town wife who is incensed when she learns that her husband Eddie Bichon (Dennis Quaid) is having an affair, and that it's not his first dalliance. Grace embarrasses her husband publicly -- then moves in with her wise-mouthed little sister Emma Rae (the scene-stealing Kyra Sedgwick). Grace becomes even angrier when her mother Georgia (Gena Rowlands) and wealthy father, horse breeder Wyly King (Robert Duvall), side with Eddie in the conflict, fearing the small-town gossip that's sure to swirl around their daughter's marital woes. However, when Georgia finds that Wyly has been a long-term philanderer as well, she kicks him out of his palatial home, embroiling the entire King family in a war between the sexes. Something to Talk About went through several title changes, variously being named "Game of Love" and "Grace Under Pressure" before producers settled on the title of the popular Bonnie Raitt song. ~ Karl Williams, Rovi

Angie is the study of a believable Italian-American woman who takes an honest look at herself and sees she's on a predictable path that will soon include an altar and a baby carriage. "There's gotta' be more!" she feels, and she's one gal with courage enough to find the answer. Geena Davis stars in this worthwhile effort. ~ Rovi

Actor Jack Nicholson, writer Carole Eastman, and director Bob Rafelson re-team 22 years after their classic Five Easy Pieces, for this romantic comedy. Nicholson plays Harry Bliss, a small potatoes security expert unhappily married to a Japanese woman (he sarcastically calls her Iwo Jima during therapy sessions). Harry's life is coming apart at the seams -- not only is his marriage on the rocks, but the IRS and assorted creditors are nipping at his heels. Then opera singer Joan Spruance (Ellen Barkin) contacts him. It seems she wants Harry's help in obtaining an attack dog for her apartment, since an unknown person has been burglarizing her home and attacking her with an ax. Needless to say, Harry and Joan fall in love. ~ Paul Brenner, Rovi

This film is a darkly humorous, determinedly ambiguous adaptation of Alan Dershowitz's book about his successful legal appeal of Claus von Bulow's conviction for the attempted murder of his wife, Martha "Sunny" von Bulow. Sunny (Glenn Close) -- who remains in a "persistent vegetative state" resulting from a suspicious injection of insulin -- narrates the film, summarizing the first murder trial, which ended with Claus (Jeremy Irons) convicted and released on bail pending appeal. Claus approaches Harvard Law professor Dershowitz (Ron Silver) to handle the case. Working with a small group of law students recruited from his classes, Dershowitz presents sufficient new evidence to cast doubt as to Claus' guilt and the veracity of the star witness, her maid. Jeremy Irons' extraordinary, Oscar-winning performance dominates the film. He plays the role of Claus with a alternatively pompous, aloof snobbishness and an engagingly enigmatic, kinky, sly humor. Barbet Schroeder was also nominated for an Academy Award for his extraordinary, off-beat, direction of this sophisticated, exceptionally intelligent legal drama. Reversal of Fortune with its sharp, witty, Oscar-nominated screenplay by Nicholas Kazan is unusual in its understanding that legal guilt and moral culpability are not the same thing -- making for an unusually provocative tragicomedy of bad manners and bad behavior among the rich. ~ Linda Rasmussen, Rovi

Tom Cruise juggles Martini shakers and ice cubes as the materialistic Brian Flanagan, a bartender who drops out of school to search for the perfect "rich chick" who will bankroll him into luxury. Brian meets up with bar veteran Doug Couglin (Bryan Brown) and they put together a dance-duo bar-tending act, taking five minutes to a mix a drink as they dance and toss gin bottles behind the bar to cutting-edge rock music circa 1988. The patrons, instead of demanding the booze, are dazzled by their antics and cheer them on. As a result, the bartenders become wildly popular -- in particular, Brian, who finds the bar babes falling all over each other to hop into the sack with him. As a result of their bar-tending success, they get hired to tend bar at a swanky disco, but there Brian and Doug have a falling out, and Brian takes off for Jamaica. There he meets vacationing New York City waitress Jordan Mooney (Elisabeth Shue) and the two fall in love. But then Brian meets rich New York fashion executive Bonnie (Lisa Banes) who wants to take Brian back to Manhattan with her to become her drink-mixing stud. When Jordan sees this, the love affair is put on hold. But not for long, as pangs of consciousness begin to filter through Brian's drunken haze. ~ Paul Brenner, Rovi

Red Dragon, the Thomas Harris novel that introduced serial killer Hannibal Lecter to the world, was adapted for the screen by Michael Mann as Manhunter. Ace criminal profiler Will Graham (William Petersen) is very good at his job because he has the ability to make himself think like the killers he tracks. Will has been in retirement since catching Hannibal "the Cannibal" Lecter (Brian Cox), as being inside that particular deranged mind caused Will to have a breakdown. Will's boss Jack Crawford (Dennis Farina visits Will at his home, showing him pictures from a murder scene and asking for his help in catching a new killer they have dubbed "the Tooth Fairy" (Tom Noonan). In order to test his mental strength, Will visits Hannibal in his prison cell. Adding to the already substantial mental stress Will experiences when he returns to the job are nosy tabloid reporter Freddy Lounds (Stephen Lang), as well as Hannibal's attempts at seeking revenge through the Tooth Fairy. After two additional films that featured Anthony Hopkins as Hannibal Lecter (Silence of the Lambs and Hannibal) became box-office blockbusters, Manhunter was re-made as Red Dragon starring Hopkins and Edward Norton as Will Graham. ~ Perry Seibert, Rovi

The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud's closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than blatantly verbal terms. (If the characters told you that the story was a retelling of the Camelot legend in baseball terms, would you have watched?) Another plus is the pastoral theme music by Randy Newman, which has been well utilized on sports broadcasts and "human interest" TV documentaries ever since. The baseball scenes in The Natural were staged at War Memorial Stadium in Buffalo, New York. ~ Hal Erickson, Rovi

Leonard Zelig, the "human chameleon", is profiled in this mock-documentary. Director Woody Allen appears as Zelig in scenes that purport to be vintage newsreel clips of the 1920s and 1930s, but are actually clever recreations, "aged" and scratched-up Citizen Kane-style by special-effects maestros Joel Hynick, Stuart Robinson and R. Greenberg Associates. An appropriately pompous narrator details the life and times of Leonard Zelig, whose overwhelming desire for conformity is manifested in his ability to take on the facial and vocal characteristics of whomever he happens to be around at the moment. He shows up at batting practice with Babe Ruth, among William Randolph Hearst's guests as San Simeon, side by side with Pope Pius at the Vatican, and peering anxiously over the shoulder of Adolf Hitler at the Nuremberg Rally. Becoming a celebrity in his own right, Zelig inspires a song, a dance craze, and a Warner Bros. biopic. Mia Farrow plays Dr. Eudora Fletcher , a psychiatrist who tries to "reach" Zelig and ultimately falls in love with him (all of Farrow's scenes are in black-and-white and allegedly culled from archive footage; Ellen Garrison, whose resemblance to Farrow is uncanny, plays the older Dr. Fletcher in the interview sequences). In the manner of Reds, the influence of the fictional Leonard Zelig on popular culture is discussed by such real-life notables as Susan Sontag, Irving Howe, Saul Bellow and Dr. Bruno Bettenheim. ~ Hal Erickson, Rovi

Woody Allen brings a diverting whimsy and a hopeful innocence to this period roundelay, based upon Ingmar Bergman's Smiles of a Summer's Night and Jean Renoir's Rules of the Game. Allen plays Andrew, a Wall Street broker and eccentric inventor who is having frigidity problems with his wife Adrian (Mary Steenburgen). Adrian and Andrew are the hosts, at their summer house in the country, of a wedding party for Ariel (Mia Farrow) and Leopold (Jose Ferrer), a famed academic who is Andrew's cousin. Over the weekend, another couple converges at Andrew's summer home -- the sly, lady-killer of a doctor Maxwell (Tony Roberts) and his date, the deliciously ditzy nurse Dulcy (Julie Hagerty). Through the course of the weekend, sexual partners are exchanged and magical fairy tale moments are shared. ~ Paul Brenner, Rovi

Slow-moving and dark, this Klute clone stars Talia Shire as Emily Hollander, a retiring, painfully introverted woman with a stutter who advertises her insecurity. She is attacked one day and her anguish recorded on tape by her assailant. It soon becomes apparent that her wacko lesbian neighbor Andrea (Elizabeth Ashley) is in love with her but too demented to express herself openly. She hired the assailant, though exactly why is not clear. Detective Bob Luffrono (Joseph Cortese) is called in to watch over Emily and perhaps corner her attacker. The relationship between Emily and the detective starts to slowly heat up, but meanwhile, there is Andrea with her telescope, spying on Emily and definitely up to no good. ~ Eleanor Mannikka, Rovi

On the heels of Annie Hall, the Oscar-winning romantic comedy that rocketed Woody Allen to the front ranks of American filmmakers, Manhattan continued Allen's romantic obsessions in a slightly darker, more pessimistic vein. Allen stars as Isaac Davis, a TV comedy writer sick of the pap he is forced to churn out and harboring dreams of being the great American novelist. His love life is in barbed-wire territory: he is tormented by his second ex-wife Jill (Meryl Streep), a lesbian who has written a tell-all book about their marriage, and he is dating teenager Tracy (Mariel Hemingway), to whom he refuses to commit, and keeps hinting that a breakup may be imminent. Isaac's disillusioned (and married) best friend Yale (Michael Murphy) has begun an affair with the cerebral writer Mary Wilke (Diane Keaton). While Isaac makes a last minute, sink-or-swim decision to quit his job and devote all of his time to book writing, and neurotically moans about what the lack of a full time job will do to him ("My parents won't have as good of a seat in the synagogue," he moans. "They'll be far away from God... away from the action") Yale is crippled by his lack of resolve, as indicated by his inability to leave his wife Emily (Anne Byrne). Meanwhile, Isaac and Mary begin to fall for one another. Tracy then tells Isaac the basic truth that none of his hung-up friends and past lovers fully realizes: "You have to have a little more faith in people." Manhattan is both a seriocomic dissection of perpetually dissatisfied New Yorkers and an ode to the city itself, filmed in glorious black-and-white by ace cinematographer Gordon Willis, and set to a score of rhapsodic George Gershwin music. ~ Hal Erickson, Rovi

In this touching tale, an amiable retarded delivery boy from Brooklyn works to help support his mother. Meanwhile his older brother keeps him safe from local punks; this sometimes creates turmoil for him as he must maintain a strong exterior to mask his love. While delivering his groceries, the young man often fantasizes about being Superman and marrying the young woman who works in a neighboring bakery. When he saves a child from a burning building, his fantasy becomes reality. ~ Sandra Brennan, Rovi