Gail Cronauer Movies

Douglas McGrath's Infamous represents the second major biopic about the avant-garde belletrist Truman Capote to be released within a year. It thus tells roughly the same story as Bennett Miller's earlier Capote, recounting the events that belied the writer's six-year authorship of the seminal "nonfiction novel" In Cold Blood. The story opens with Capote (Toby Jones) visiting the site of the 1959 Clutter family homicide, on a Kansas research trip, accompanied by his close friend and colleague, author Harper Lee (Sandra Bullock). As Capote settles into the community, McGrath uses the preponderance of screen time to explore the emotional tapestry of Capote's increasingly risky emotional attachment to one of the two murderers, Perry Edward Smith (Daniel Craig), with whom he senses more than a few common bonds. McGrath weaves a decidedly bittersweet tale, contrasting the optimism and devil-may-care, "conquer all" attitude of Capote in his early years with a seemingly endless string of poor choices in the writer's later years, from addictions to drink and pills, to a failure to maintain healthy output as a writer, to poorly chosen romantic and sexual entanglements. Most significantly, however, McGrath reveals how the relationship with Smith virtually destroyed Capote as an artist and a human being, by inducing him to sell out on all levels to satisfy his lust for accomplishment and notoriety. ~ Nathan Southern, Rovi

Substitute teacher Walmsley (John S. Davies) is overwhelmed by politically correct policies and arrogant students at the Texas high school where he attempts to teach. What the doddering school officials, desperate for a teacher, don't realize is they've called Walmsley as he's recovering from a psychotic episode -- he's drugged and drooling when he takes the call. When rebellious Davey (Meason Wiley) attempts to rape naïve art teacher Louise (Marsha Dietlein) and then sues her -- only to have Louise beaten to a pulp in a school hallway by Davey's jealous girlfriend -- Walmsley has had enough: He kidnaps six of the worst students and encages them in an abandoned big game cage formerly used by a circus. The floors and bars are electrified, and if the kids don't learn their lessons, or if they continue to be rude and unruly, Walmsley gives them a shock. Graduation does not seem imminent. ~ Buzz McClain, Rovi

Made for television, The Unspoken Truth is the factual story of Brianne Hawkins (Lea Thompson), who after enduring a lifetime of abuse at the hands of her family marries the even more abusive Clay Hawkins (James Marshall). Given to beating his wife at the slightest provocation, Clay finally goes completely over the edge when he shoots and kills a man who had the temerity to speak to Brianne without Clay's permission. Thinking quickly for a change, Clay persuades Brianne to take the rap for the killing, whereupon she complicity (if not willingly) concocts an elaborate story as to how she shot the man accidentally. Not only do the authorities refuse to swallow this fabrication, but they end up sending both Clay and Brianne to prison for life! Only when the future of her daughter, Lily (Karis Paige Bryant), is jeopardized does the long-suffering Brianne finally work up the courage to fight for her freedom and her long-denied fundamental rights as a human being. A shocking mid-film revelation elevates this story from the usual battered-wife TV-movie syndrome. Filmed on location in Austin, TX, The Unspoken Truth originally aired September 24, 1995, on NBC. ~ Hal Erickson, Rovi

A dying wife and mother makes plans for her family in this made-for-television drama. Lea Thompson stars as Amy Hightower, a frontier wife and mother of four who is ill and expected to die. In an unusual move to make sure her family is cared for, she finds a prostitute named Pearl (Farrah Fawcett) and teaches her how to be a wife and mother. The movie shows how Pearl slowly transforms, Amy's health fluctuates, and how husband Martin (Peter Weller) deals with the unusual circumstances. Filmed in Texas, this film is at times humorous and emotional, and not typical movie-of-the week fare. ~ Bernadette McCallion, Rovi

The November 22, 1963, assassination of U.S. President John F. Kennedy shocked the nation and the world. The brisk investigation of that murder conducted under the guidance of Supreme Court Justice Earl Warren distressed many observers, even though subsequent careful investigations have been unable to find much fault with the conclusions his commission drew, the central one of which was that the assassin, Lee Harvey Oswald, acted alone. Instead of satisfying the public, one result of the Warren Commission Report was that an unimaginable number of plausible conspiracy theories were bruited about, and these have supported a sizeable publishing mini-industry ever since. In making this movie, director Oliver Stone had his pick of supposed or real investigative flaws to draw from and has constructed what some reviewers felt was one of the most compelling (and controversial) political detective thrillers ever to emerge from American cinema. Long before filming was completed, Stone was fending off heated accusations of artistic and historical irresponsibility, and these only intensified after the film was released. In the story, New Orleans District Attorney Jim Garrison (Kevin Costner) is convinced that there are some big flaws in the investigation of Oswald (Gary Oldman), and he sets out to recreate the events leading up to the assassination. Along the way, he stumbles across evidence that a great many people had reason to want to see the president killed, and he is convinced that some of them worked in concert to frame Oswald as the killer. Among the suspects are Lyndon Baines Johnson (the next president), the CIA, J. Edgar Hoover, and the Mafia. Over the course of gathering what he believes to be evidence of a conspiracy, Garrison unveils some of the grittier aspects of New Orleans society, focusing on the shady activities of local businessman Clay Shaw (Tommy Lee Jones). Garrison's investigations culminate in his conducting a show trial that he knows he will lose and which he is sure will ruin his career in order to get his evidence into the public record where it can't be buried again. This movie won two of the many Academy Awards for which it was nominated: one for Best Photography (Robert Richardson) and the other for Editing (Joe Hutshing). ~ Clarke Fountain, Rovi