Kenny Vance Movies

This 1977 episode of Saturday Night Live is hosted by Buck Henry and features musical guests Kenny Vance and Jennifer Warnes. ~ Skyler Miller, 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 the early 1960's, Eddie Wilson (Michael Pare) and his band The Cruisers enjoyed a brief fling with success, but their career came to a halt when Eddie's badly damaged car was discovered in an accident on a bridge. However, Eddie's body was never found, and years later, a reissue of the group's only album sparks rumors that the mysterious Eddie might still be alive. Frank Ridgeway (Tom Berenger), Eddie's former piano player and lyricist, finds himself trailed by Maggie Foley (Ellen Barkin), a reporter trying to find out the truth about Eddie, as well as another former bandmate who wants Frank to join his revamped version of the Cruisers -- and is trying to track down the tapes for the Cruisers' unreleased second album. While not a box-office success on its original release, Eddie and the Cruisers developed a following after its showings on cable television and release on videotape; this led to the belated success of the film's soundtrack album, featuring a number of bombastic neo-Springsteen numbers by John Cafferty and the Beaver Brown Band. Beaver Brown saxophonist Michael "Tunes" Antunes plays Wendell, the Cruisers' sax player and Eddie's best friend (despite the fact that we never hear him speak). ~ Mark Deming, Rovi

Woody Allen spent most of the 1980s and '90s veering between comedy and drama, and he rarely combined the two with greater success than in Crimes and Misdemeanors, in which he weaved together two stories, one deadly serious, one often funny, both ending in sadness. Martin Landau plays Dr. Judah Rosenthal, a prominent ophthalmologist with a successful practice, a loving family, and a reputation for generous charity work. But Rosenthal also has a secret: his mistress, Dolores (Anjelica Huston). What began as a casual fling has become uncomfortably intimate, and as he tries to break off the relationship, Dolores threatens to expose his infidelity to his wife and some unorthodox financial arrangements to his colleagues. Fearful that Dolores will make good on her threats, Judah confesses his secret to his brother Jack (Jerry Orbach), who has ties to organized crime and offers to "make the problem go away." Meanwhile, Cliff Stern (Woody Allen) is a filmmaker working on his pet project, a documentary about philosopher Prof. Louis Levy (Martin Bergmann). However, films about philosophers don't pay the rent, so Cliff's wife Wendy (Joanna Gleason) arranges for him to make a documentary for public television about her brother Lester (Alan Alda), a famous TV comedian whose vapidity is exceeded only by his arrogance. While Cliff tries to bite the bullet and finish the film, he finds himself falling in love with PBS producer Halley Reed (Mia Farrow). ~ Mark Deming, Rovi

Set at a Southern college during the 1950s, three co-eds (Ally Sheedy, Virginia Madsen and Phoebe Cates) re-assess their values in light of the burgeoning civil rights movement. ~ Jason Ankeny, Rovi

One of Woody Allen's most seemingly biographical films, Husbands and Wives opens with upper-middle class Manhattan couple Sally (Judy Davis) and Jack (Sydney Pollack) announcing to their best friends, the Roths, that they are splitting up. Gabe Roth (Allen) and his wife Judy (Mia Farrow) are taken aback by their casual revelation. Jack begins dating his dim, but sexy, aerobics instructor and Sally starts up a tentative romance with Michael (Liam Neeson). Gabe and Judy begin analyzing their marriage, discovering that they might not be meant to stay together. English professor Gabe begins a serious flirtation with a student of his named Rain (Juliette Lewis) and Judy begins to have feelings for Michael. Eventually, Sally and Jack reconcile, but have not improved their relationship. Gabe and Judy end up going their separate ways. Husbands and Wives was seemingly influenced by Ingmar Bergman's Scenes From a Marriage. ~ Perry Seibert, Rovi

William Petersen's High Horse Films produced this romantic comedy that endeavors to recall the glory days of Cary Grant and Irene Dunne. Petersen stars as Joey Coalter, a roving adventurer who has been married to his wife Chris (Sissy Spacek) for almost thirteen years but has rarely been home. During that time Chris has become fed up with Joey's cavalier ways. But it comes as a complete shock to Joey when, while talking to a group of cowpokes about Tahitian women somewhere on the prairie, he receives a wedding invitation sent by his daughter Beth (Olivia Burnette) that announces the wedding of Chris to dull business man Walter Humphrey (Brian Kerwin). Beth hopes the surprise wedding invitation will prod Joey to try to get back together with Chris. Chris hopes so too, as Joey drops what he is doing and takes off to stop Chris's pending nuptials. ~ Paul Brenner, Rovi

Co-writer director Martin Davidson, who previously made a name for himself in rock-fuelled features such as The Lords of Flatbush (1974) and Eddie and the Cruisers (1983), creates this wistful melodrama about a middle-aged widower looking back with tinges of regret at his abandoned musical career. Armand Assante stars as Vince, a former neighborhood idol and lead singer in his moderately successful doo-wop band. But instead of pursuing stardom, he married and got a job as a bartender in order to support his three kids; his eldest son is a cop with a family of his own, his middle child is a 20-something trying to start out with his band, and his youngest, Tina, spends her days in and out of hospitals suffering from leukemia. Though Vince has not dated since his wife died of cancer, he finds himself attracted to motor mouth nurse Joanne (Diane Venora). Later, Vince and his old friends from his defunct group visit the glitz and glamour of Atlantic City and reminisce about old times. Looking for an Echo was screened at the 1999 Mill Valley Film Festival. ~ Jonathan Crow, Rovi

Miguel Pinero became a leading figure in New York's art scene during the 1970s as a poet, actor, and playwright whose vibrant, often pointed, work spoke directly to the lower classes and to disenfranchised minorities. As a founder of the influential Nuyorican Poets Cafe, his poetry soon became recognized as a forerunner to rap and hip-hop music. TV screenwriter turned director Leon Ichaso spins this impressionistic biographical look at this artist. Raised in an abusive family, Pinero (Benjamin Bratt) turns to streets for solace. Soon he is engaging in petty crime, drug dealing, and addiction. When he finds himself in Sing-Sing, he turns his experiences in prison into the play Short Eyes, which eventually garners him seven Tony awards in 1974. Uncomfortable with his new fame, he clings to his girlfriend, Sugar (Talisa Soto), and his childhood buddy, Miguel Algarin (Giancarlo Esposito), who is a literature professor and who co-founded the Nuyorican Cafe. Though Pinero makes cameos on such shows as Kojak, his art begins to suffer as he starts to succumb to his drug addictions. This film was screened at the 2001 Toronto Film Festival. ~ Jonathan Crow, Rovi