Sidney Lumet

His mind locked into a perpetual state of confusion thanks to both the prison psychiatrist and the woman he loves, a desperate convict vows to regain his freedom before events take a deadly turn in this psychological thriller from writer/director Sidney Lumet. ~ Jason Buchanan, All Movie Guide

A wise guy turns his own trial upside down by serving as his own lawyer in this comedy drama based on a true story. In 1987, an extensive investigation into the activities of the Lucchese crime family led to charges being filed against most of the key members of the gang, leading to the prosecution of 20 different men, each represented by their own council. That is, except for Giacomo DiNorscio, aka Jackie Dee (Vin Diesel), a longtime Lucchese family "mechanic" implicated in everything from kidnapping to drug dealing. While Jackie Dee is obviously a common criminal and guilty of all he's charged with, he also has a fierce sense of loyalty to his colleagues, despite the fact his cousin Tony Companga (Raul Esparza) previously tried to kill him out of fear he might talk. Sean Kierney (Linus Roache), the prosecutor tackling the Lucchese Family case, tries repeatedly to persuade Jackie Dee to testify against his partners in exchange for leniency, but he stubbornly refuses. Tired of the way things are being handled, Jackie Dee informs family attorney Ben Klandis (Peter Dinklage) that he intends to represent himself in court; this seemingly suicidal move turns into an unexpected success as Jackie Dee's sense of humor and streetwise charm has a remarkable impact on the judge and jury. Find Me Guilty also stars Ron Silver, Alex Rocco, and Annabella Sciorra. ~ Mark Deming, All Movie Guide

In the late '60s, American culture experienced a period of change as the youth movement challenged conventional attitudes about politics, sex, drugs, and gender issues, while the advancement of the Vietnam War found many citizens questioning the actions and wisdom of their government for the first time. As American attitudes continued to evolve, so did the American film industry; as costly big-budget blockbusters nearly brought the major studios to the brink of collapse, smaller and more personal films such as Bonnie and Clyde, Easy Rider, and Five Easy Pieces demonstrated there was a ready audience for bold and challenging entertainment. As the '60s faded into the 1970s, American cinema moved into an exciting period of creativity and stylistic innovation, which led to such landmark films as The Godfather, MASH, The Last Picture Show, Shampoo, One Flew Over the Cuckoo's Nest, Chinatown, and Taxi Driver, and new freedom for directors and screenwriters. Ironically, however, it was another pair of big-budget blockbusters directed by students of the new wave of filmmaking -- Jaws and Star Wars -- which brought the studios back to power and put an end to Hollywood's flirtation with offbeat creativity. A Decade Under the Influence is a documentary which explores the rise and fall of new American filmmaking in the 1970s, and features interviews with many of the key directors, screenwriters, and actors whose work typified the movement, including Francis Ford Coppola, Robert Altman, Martin Scorsese, Paul Schrader, Roger Corman, Dennis Hopper, Jon Voight, and Julie Christie. A Decade Under the Influence received its world premier at the 2003 Sundance Film Festival, and an expanded version of the film was later shown on the premium cable outlet The Independent Film Channel; the documentary was the final work of co-director Ted Demme, who died shortly before the film was completed. ~ Mark Deming, All Movie Guide

Oscar-winning director Sidney Lumet, who began his career during the "golden age" of live television, returned to his TV roots as creator, writer, and director of the gritty, one-hour drama series 100 Centre Street. The title refers to the address of New York's Criminal Court, presided over by such distinguished jurists as Judge Joe Rifkind (Alan Arkin and Judge Atallah Sims (LaTanya Richardson). Though diametrical opposites in terms of philosophy -- Rifkind tends towards lenient liberalism, while the by-the-book Sims is known far and wide as "Atallah the Hun" -- the two judges remain close friends. Many of the episodes deal with the ramifications of the judges' decisions: In the opener, for example, Rifkind had to wrestle with the fact that a defendant he set free immediately went out and committed a savage murder -- and the victim was the daughter of Rifkind's former law partner. Others in the cast are Joseph Lyle Taylor and Paula Devicq as Assistant DAs Bobby Esposito and Cynthia Bennington, Larry Pine as Cynthia's father Frank, Manny Perez as womanizing legal aide Ramon Rodriguez, Val Avery as Sal Gentile, and Armando Williams as Al Thompson. As realistic as possible within the strictures of basic cable, and doggedly refusing to take dramatic easy-outs or provide pat endings, 100 Centre Street is worthy of all the "hype" attending its January 15, 2001, debut on the A&E network. ~ Hal Erickson, All Movie Guide

Sidney Lumet filmed this hospital satire at a Canadian studio. Alcoholic Dr. Butz (Albert Brooks in old-age makeup) advises younger Dr. Werner Ernst (James Spader) to only treat patients with much insurance. "When the lawyers start crawling all over you," says Butz, "that's when you know you're a doctor." Ernst, a second-year resident working in the ICU with head nurse Stella (Helen Mirren), winds up in the middle of a dispute between two sisters (Kyra Sedgwick and Margo Martindale). One wants to pull the plug on their wealthy father; the other demands that he remain alive (at a cost of $112,800 a month). Soon events swivel from the money-mad medical mire to equally murky legalistics. Steven Schwartz's screenplay was adapted from the novel by Richard Dooling. Shown at the 1997 Chicago Film Festival. ~ Bhob Stewart, All Movie Guide

Sidney Lumet directed this Larry Cohen-scripted courtroom procedural that owes more than it should to Jagged Edge. Jennifer Haines (Rebecca De Mornay), one of the top female lawyers in the country and flush from the success of defending a gangster, has a new client to defend. A suave ladies man in an Armani suit, David Greenhill (Don Johnson) has come to solicit Jennifer's services. It seems that his rich socialite wife has been pushed to her death through an open window, and David stands to inherit a very large fortune. Needless to say, David is a prime suspect in his wife's murder. David admits to Jennifer the he is a womanizer and an oily manipulator, but nevertheless Jennifer decides to take his case as a challenge -- as she puts it: "People who are guilty are rarely this blunt." The result is an intricate chess game between Jennifer and David as they manipulate events, other people, and each other in order to determine the guilt or innocence of the playboy widower. ~ Paul Brenner, All Movie Guide

Fonda on Fonda offers an intimate look at one of America's most highly regarded megastars, the Academy and Tony award-winning film and stage actor, Henry Fonda. Daughter Jane Fonda hosts this account of the elder Fonda's life and career. Fonda's work spanned the golden years of Hollywood in which he appeared in 90 films. Fonda on Fonda traces the actor's stellar career using interviews and clips from his best-known films, including The Grapes of Wrath, Young Mr. Lincoln, Mister Roberts, and On Golden Pond, in which he shared the screen with Jane. The video offers rare insight into the world of one of Hollywood's most important performing families.

~ Sally Barber, All Movie Guide

The extraordinary life of Quincy Jones -- one of the 20th century's most influential and talented composers, musicians and music producers -- provides the basis of this offbeat, free-form documentary tribute. With little regard for formal timelines and traditional documentary biography methods, the film is an amazing patchwork of personal insights featuring a constellation of music stars including his long-time friend Ray Charles, Miles Davis, Frank Sinatra, Herbie Hancock, Ella Fitzgerald, Michael Jackson, Aretha Franklin, Dizzy Gillespie and rappers Big Daddy Kane and Flavor Flav, as well as politicians, filmmakers and other important people. Some of the most moving scenes involve Jones returning to his childhood home in Chicago and recounting honest and painful memories from his childhood. Jones does not shy from discussing everything -- from his mother's mental illness, to his marital problems, to his serious health conditions. He also looks frankly at his career. ~ Sandra Brennan, All Movie Guide

You've probably already guessed that the Family Business in this all-star melodrama is the business of crime. Adapted from a novel by Vincent Patrick, the film stars Sean Connery as Jessie McMullen, the patriarch of a family of career criminals, including his son Vito (Dustin Hoffman) and grandson Adam (Matthew Broderick). Vito has gone legit, but college-educated Adam remains loyal to his grandfather. Reluctantly, Vito joins his father and son on a big-time heist involving millions of dollars' worth of test-tube specimens. There's many a slip-up and betrayal before the three generations can find a common ground. ~ Hal Erickson, All Movie Guide

One of the few documentaries to shine a spotlight on directors in Hollywood, this informative film sketches out the 50-year history of the Directors Guild of America. Formed at a time when people were still fighting for unions in the United States, the guild also had its problems when the studios refused to recognize it. Beginning with a group of twelve men and building up from there, the next major crisis in Guild history came in 1950 when Cecil B. DeMille tried to overthrow president Joseph L. Mankiewicz because Senator McCarthy's witchhunt had branded the latter as a closet Communist. Fortunately DeMille's efforts were squelched, thanks to the level-headed actions of director John Ford and others. Radio and televsion directors have been accepted into the Guild and the members were working up a "Bill of Rights" during the filming of this documentary. ~ Eleanor Mannikka, All Movie Guide

A star-studded cast portrays political movers and shakers in this drama about politics and the media. Richard Gere is Pete St. John, a gilt-edged "image" advisor to the likes of powerful and often crooked politicians -- including a South American candidate for the top office in his country and, reluctantly, a conservative industrialist named Jerome Cade (J.T. Walsh). Cade is after a Senate seat vacated by Sam Hastings (E.G. Marshall), a liberal politician who fits in with the views that Pete once upheld. When things start to go wrong, it looks like Cade's gruff advisor Arnold Billings (Denzel Washington) might hold one of the keys to Pete's discovery of the truth about Cade -- and may be the reason why Hastings is leaving his job. ~ Eleanor Mannikka, All Movie Guide

Sidney Lumet directed this film version of E.L. Doctorow's novel The Book of Daniel (scripted by Doctorow) that deals in a thinly veiled (although dispassionate way) with the Rosenberg spy case of the 1950s, as seen through the eyes of their children. The Rosenbergs are the Isaacsons here, and the first image of the film is a close-up of their son Daniel's (Timothy Hutton) eyes as he recites a dictionary definition of the word "electrocution." Daniel becomes a detective as he seeks out friends and relations of his parents -- Paul (Mandy Patinkin) and Rochelle (Lindsay Crouse) -- to discover some meaning from his parents' conviction as Russian spies and their execution in the electric chair during the communist paranoia of the 1950s. Daniel is prompted to investigate the past by the near-suicide of his hysterical sister Susan (Amanda Plummer). The film weaves back and forth in time, recalling the period from the 1930s to the 1950s. In a strangely uninvolving way, Lumet's film takes no point of view, the only emotion derived from the almost continuous sounds of Paul Robeson's singing on the soundtrack. ~ Paul Brenner, All Movie Guide

Sidney Lumet provides another of his film adaptations of Broadway successes -- in this case Ira Levin's 1978 clever Broadway murder mystery that starred John Wood in a triumphant turn as down-on-his-luck playwright Sidney Bruhl. Wood's brittle airiness is replaced in the film version by Michael Caine's smoldering bitterness. Sidney Bruhl is a successful writer of Broadway mystery plays who was at one time considered the Neil Simon of Broadway mystery writers. Unfortunately, Bruhl is now struggling to live up to his own reputation, suffering through a series of four consecutive flops. But then Bruhl comes upon the manuscript of a brilliant suspense drama written by unknown writer Clifford Anderson (Christopher Reeve). Bruhl, desperate for a hit play, invites Clifford to come to see him, telling him that he is interested in collaborating with him on the play. Actually, Bruhl plans to murder Clifford and pass off Clifford's play as his own. What Bruhl doesn't know, however, is that Clifford has some surprise plot points of his own up his sleeve. ~ Paul Brenner, All Movie Guide