Eugene Lipinski

This remake of the classic 1975 science fiction film follows the same basic story line but focuses far more on the sports action of the fictional game at its center. Chris Klein stars as all-American athlete Jonathan Cross, the most popular player of "Rollerball," a violent 21st century sport mixing elements of basketball, hockey, roller derby, and extreme sports, along with the development of live wagering that tracks each game's action. Along with his friends and teammates Marcus (L.L. Cool J) and Aurora (Rebecca Romijn-Stamos), Jonathan is living the life of a media celebrity and millionaire, enjoying the adoration of fans and all of the perks that his fame brings. When the creator of Rollerball, Alexi Petrovich (Jean Reno), realizes that the sport's ratings spike during the on-court accidents that are de rigueur for the game, he schemes to create the bloody incidents that are popular with viewers but put the athletes in mortal jeopardy. Soon, Jonathan and his friends find themselves pawns in a vast corporate conspiracy in which their lives are far less important than profits. Rollerball (2002) also stars pop singer Pink in her acting debut. ~ Karl Williams, All Movie Guide

David Weaver makes his feature debut with this omnibus film in which each tale is told during different points during the 20th century, but in the same hotel room -- room 720. The film opens during the swinging '20s when a beautiful young woman, married against her will to a brutish thug of a man, endures a tension-fraught honeymoon. During the Depression segment, a mail-order bride from China meets her husband for the first time. Following the end of WWII, a soldier returns home to meet his girlfriend and his best friend. During the paranoia of the 1950s, a professor searches for his wife. During the 1980s, a lawyer has too much sex and debt, and during the dawn of the millennium, a woman comes to a newly refurbished room 720 to meet her Internet lover. Such acclaimed Canadian actors as Tom McCamus, Sandrine Holt, and Colm Feore star in this film, which was screened at the 2001 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

The fun begins when Kenny Witowski, a typical middle school student, begins seeking out e-mail pals on the Internet. Thanks to a glitch in the system, Kenny is connected with a correspondent who signs himself "Average Joe," and who solicits our hero's opinion on practically everything. Little does Kevin realize that "Average Joe" is actually one A. Thorton Osgood II -- President of the United States! Mail to the Chief was first telecast on April 2, 2000, as an entry in the ABC anthology The Wonderful World of Disney. ~ Hal Erickson, All Movie Guide

Piers Haggard directed this whimsical Canadian-British comedy-drama set in tiny Conquest, Saskatchewan (pop. 124), where local banker Pincer Bedier (Lothar Bluteau) encourages new businesses. After the Alfa Romeo of Daisy MacDonald (Tara Fitzgerald) stalls in Conquest, Pincer recruits her to run the local hardware store in a trade for repairs to her vehicle. Shown at the 1998 Montreal World Film Festival. ~ Bhob Stewart, All Movie Guide

A beautiful but reserved criminal psychiatrist must deal with the obsessive stalking of a dangerous killer in this erotically charged thriller. The film's central tension emerges from the relationship between Dr. Sarah Taylor (Rebecca DeMornay), a highly professional psychologist, and a handsome stranger, Tony Ramirez (Antonio Banderas). After randomly encountering Tony in a supermarket, the normally aloof Sarah lets her guard down and embarks on a passionate sexual affair with the Latino charmer. Soon afterward, however, Sarah receives a series of disturbing threats from an unknown stalker. Her suspicions immediately fall on Tony, as she realizes how little she knows about her new lover. Her fear throws a shadow over their relationship, and her doubts increase as she learns more about Tony's dangerous past. Director Peter J. Hall maintains a fast pace and attempts to keep audiences guessing, introducing additional suspects from an imprisoned serial killer (Harry Dean Stanton) to the next-door neighbor (Dennis Miller). The characters rarely transcend standard thriller types, and the uneven screenplay does not have a satisfying ending, but the chemistry between DeMornay and Banderas may keep their fans interested along the way. ~ Judd Blaise, All Movie Guide

An older woman recalls the circumstances that lead to the loss of her innocence in this touching, off-beat drama. For her, the road to worldliness began just after WW II when she fell in love with a poet and a real estate magnate. ~ Sandra Brennan, All Movie Guide

The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, All Movie Guide

The title of this Anglo-Canadian TV production is tinged with irony. So far as the main characters are concerned, home is a still a long way to go. Set in the months following World War I, the film takes place in a squalid Welsh "halfway" camp, where Canadian soldiers are kept for an interminable period of time before the British government deigns to ship them home. Fed up with go-nowhere bureaucracy and the shabbiness of their surroundings, the Canadians stage a violent revolt. Based on a true story, Going Home represented the directorial debut of veteran costume designer Terry Ryan. Heading the cast are veteran Canadian actors Nicholas Campbell, Paul Maxwell and Eugene Lipinski. ~ Hal Erickson, All Movie Guide

A group of radical Vietnam vets become broadcasting pirates and take on a Presidential candidate in this crazy comedy. The vets and their leader, "Captain," are television raiders flying all over the country in a B-29 they turned into flying broadcasting station S&M TV, jamming the airwaves wherever they go. Their self-assigned mission for the past 20 years is to keep the public informed about government activity to stop them from launching another foolish war like Vietnam. To do this they monitor the broadcasts of other television stations and when they don't like what they hear, they bust in and expose the lies. The bulk of the story centers around their final mission: an all-out attempt to keep Mrs. Willa Westinghouse, an ultra-conservative Presidential candidate and strong proponent of the Cold War and military strength, from winning the election. ~ Sandra Brennan, All Movie Guide

The year is 1947. Aspiring southern author Stingo (Peter MacNichol) heads to New York to seek his fortune. Moving into a dingy Brooklyn boarding house, Stingo strikes up a friendship with research chemist Nathan Landau (Kevin Kline) and Nathan's girlfriend, Polish refugee Sophie Zawistowska (Oscar-winner Meryl Streep). There is something unsettling about the relationship; Nathan is subject to violent mood swings, while Sophie seems to be harboring a horrible secret. Stingo soons learns that both Nathan and Sophie are strangers to truth; the audience is likewise led down several garden paths by a series of sepia-toned flashbacks, depicting Sophie's ordeal in a wartime concentration camp. The scene in which we discover the facts behind Sophie's "choice" is a gut-wrenching one; it might have been even more powerful had not the film taken so long to get there. It is betraying nothing to reveal that the character of Stingo is the alter ego of William Styron, upon whose best-selling novel the film was based. The film is rated R, due in great part to a disposable scene wherein Stingo tries to put the make on a "liberated" female intellectual. ~ Hal Erickson, All Movie Guide

Jeremy Irons portrays Nowak, one of four Polish laborers, living in England. In exchange for a place to stay, Irons and his buddies -- none of whom have British work permits -- agree to renovate their landlord's flat within a limited time-frame. Despite their hectic schedule, the boys agree never to work on Sunday: this is the day that they communicate with their loved ones in Poland. On one such Sunday, however, the Soviets declare martial law in Poland, cutting off all telephone and telegraph service to the outside world. Nowak, the only one of the four who speaks English, learns of the turmoil in Poland before his friends do; he decides to keep the news secret, rather than jeopardize their living arrangements. When the flow of money from home ceases, Nowak takes to stealing to finance the renovation project. He pushes his friends mercilessly to make sure the project is completed on time, secretly burning their letters so that they remain in the dark about the Soviet incursion upon their native soil. When they do find out, they physically vent their anger upon Nowak, perceiving him to be as much an enemy and oppressor as the Soviets. This is clearly the allegorical point that director Jerzy Skolimowski is hoping to make in Moonlighting; wisely, he avoids conveying his message in fluent tract, relating his story with generous doses of humor and irony. ~ Hal Erickson, All Movie Guide