Mary Goldberg Movies

There are angels among us, and they like lots of sugar in their coffee, in writer-director Nora Ephron's comic fantasy Michael. Vartan Malt (Bob Hoskins) is the editor of a tabloid called the National Mirror that specializes in unlikely stories about celebrities and frankly unbelievable tales about ordinary folks. When Malt gets word that a woman is supposedly harboring an angel in a small town in Iowa, he figures that this might be right up the Mirror's alley, so he sends out three people to get the story -- Frank Quinlan (William Hurt), a reporter whose career has hit the skids; Huey Discoll (Robert Pastorelli), a photographer on the verge of losing his job (even though he owns the Mirror's mascot, Sparky The Wonder Dog); and Dorothy Winters (Andie MacDowell), a self-styled "angel expert." They arrive at the rooming house of Patsy Millband (Jean Stapleton), who informs them that she does indeed have an angel for a tenant, and introduces them to Michael (John Travolta). Michael has wings like an angel, but the resemblance ends there; Michael loves cigarettes, has an uncontrollable sweet tooth (and a pot belly to match), tends to use a large number of non-angelic phrases, is not much on personal hygiene, and likes to hang out with the ladies. Michael informs his visitors that in Heaven, an angel is allowed a certain number of "vacations" on Earth, and he's in the midst of one now; trouble is, this is the last one he's entitled to, and he wants to make the most of it. Frank and Huey then stumble on a great story idea -- if Michael wants to have some fun, why not take him to Chicago, where he can really kick up his heels? Michael was written in part by Jim Quinlan, himself a one-time reporter, though with a much more respectable tabloid than the Mirror -- he wrote for the Chicago Sun-Times. ~ Mark Deming, Rovi

Marshall Herskovitz directed this tearjerking schizophrenic combination of The Wonder Years and To Kill a Mockingbird. It is 1972, and John Leary (Danny De Vito) and his two sons Jack (Robert J. Steinmiller Jr.) and Dylan (Miko Hughes) have just moved to Oakland, California. John is a television celebrity who has been fired from one station after another, appearing now on a cheap local station as the Saturday night host of a horror-film showcase. But John spends most of the time drinking and grieving over the loss of his wife, who was recently killed in an accident. The children try to adapt to their new school, and the family tries to adapt to the collection of kooks that populate their neighborhood. Foremost among them is Norman Strick (Gary Sinise), a sinister neo-Nazi who lives across the street. When Strick circulates a petition for the local white-supremacist candidate, John gets drunk and attacks him on his television show. As a result, Strick takes his revenge by abducting one of John's children. ~ Paul Brenner, Rovi

A smooth-talking confidence trickster makes his way into congress (where the cynical would suggest he'd have plenty of company) in this comedy. Thomas Jefferson Johnson (Eddie Murphy) is a con man from Florida who gets the bright idea that a scam artist could make a tidy sum if he was able to get inside the political arena. When a Florida congressman named Jeff Johnson dies and a special election is held to replace him, Thomas puts his name on the ballot as "Jeff Johnson," and enough confused voters check the ballot for him that he wins the race and is on his way to Washington D.C. Johnson soon finds a mentor in Dick Dodge (Lane Smith), chairman of the Power and Industry Committee, who shows Johnson the ropes on raking in PAC money while the late Mr. Johnson's aide, Reinhardt (Grant Shaud), gives him the inside scoop on how things work in Washington. Johnson's plans are going just as he hoped until he meets Celia Kirby (Victoria Rowell), a volunteer lobbyist and political activist whose uncle is a noted religious leader, The Rev. Elijah Hawkins (Charles S. Dutton). Johnson quickly becomes smitten with Celia, but it's obvious that she's not buying his act, and if he wants to win her heart, he'll have to stop fooling people into thinking he's honest and actually be honest. Joe Don Baker and Sheryl Lee Ralph also co-star. ~ Mark Deming, Rovi

Jessica Lange plays an attorney whose affable Hungarian-immigrant father Armin Mueller-Stahl is arrested. He is threatened with deportation for lying about his activities during World War II; part of the charge is that Mueller-Stahl was a Nazi collaborationist, guilty of wartime atrocities. Absolutely convinced that her father is being railroaded by a revenge-seeking Hungarian communist government, Lange handles Mueller-Stahl's defense, expertly blowing huge holes in prosecuting attorney Frederic Forrest's case. But in doing her own research, Lange discovers that her father has spent a lifetime paying off a blackmailer. Why? In contrast to the fervency of his earlier Z, Costa-Gavras refuses to make things easy by proselytizing in The Music Box (nor does screenwriter Joe Esterhas indulge in his usual right-between-the-eyes fervency). Everything in the film is offered on the same calm, collected level, making the ultimate horror of the story all the more effective. ~ Hal Erickson, Rovi

The still unknown Kevin Costner carries this film that involves five college roommates on a last "fandango" before they separately face the harsh realities of an unpredictable future. It is 1971, and the Vietnam War has not yet ended. Gardner Barnes (Costner) has extended his college years by six semesters in an attempt to stave off the rapidly approaching future, Kenneth (Sam Robards) has just canceled his wedding in a drunken look at reality, Lester (Brian Cesak) loves alcohol and tags along with the group just to have a good time, Dorman (Chuck Bush) is devoted to existentialism and flights of poetic fancy, and Phil (Judd Nelson) is barely a member of the group because he is consorting with the enemy: he is a member of ROTC. This unlikely mismatch cavorts through several classic college pranks, among them taking bets on daredevil acts like skydiving into the middle of nowhere. As their high jinks continue, it becomes apparent that their real desire is not to live a wild life for its own sake, but to postpone the moment when they will have to leave school and its lifestyle behind them. ~ Eleanor Mannikka, Rovi

Based on a true story, Silkwood begins and ends with Karen Silkwood (Meryl Streep) driving along a lonely road in 1974, heading to a meeting with a New York Times reporter to deliver evidence of negligence at the Kerr-McGee Plant in Cimarron, Oklahoma. The balance of the film flashes back to Karen's ribald private life with her lover (Kurt Russell) and her loose-living friends (Cher and Diana Scarwid). This is in contrast to her humdrum job at Kerr-McGee--or it least it was humdrum until Karen and several other employees become contaminated by radiation. The higher-ups want to sweep this incident under the rug, but Karen thinks that something's fishy, and informs the union of that fact. X-rays of the faulty fuel rods and written proof of the inadequate safety measures that caused Karen's illness are tampered with, forcing Karen to conduct her own private investigation. As she gathers evidence, Karen becomes a pariah to her boyfriend because of her obsession. She finally organizes the evidence into a briefcase, and heads off to her meeting with the Times reporter. She never makes it; the "official" report on her fatal auto accident is that Ms. Silkwood had been drinking and was under the influence of tranquilizers. Kerr-McGee was eventually forced to pay the Silkwood family an enormous settlement because of her contamination, but the full facts behind her convenient accident have never been revealed (though the filmmakers clearly indictate whom they hold responsible). Director Mike Nichols and screenwriters Nora Ephron and Alice Arlen surround this true story with a lively, improvisational atmosphere that gets the best out of Streep, Russell, and Cher, while providing perhaps the fullest on-screen realization of Nichols' theater-based techniques of realistic, character-centered, dialogue-driven filmmaking, as well as one of the first movie screenplays from future director Ephron. ~ Hal Erickson, Rovi

"In space, no one can hear you scream." A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades a spacecraft in Ridley Scott's sci-fi horror classic. On the way home from a mission for the Company, the Nostromo's crew is woken up from hibernation by the ship's Mother computer to answer a distress signal from a nearby planet. Capt. Dallas's (Tom Skerritt) rescue team discovers a bizarre pod field, but things get even stranger when a face-hugging creature bursts out of a pod and attaches itself to Kane (John Hurt). Over the objections of Ripley (Sigourney Weaver), science officer Ash (Ian Holm) lets Kane back on the ship. The acid-blooded incubus detaches itself from an apparently recovered Kane, but an alien erupts from Kane's stomach and escapes. The alien starts stalking the humans, pitting Dallas and his crew (and cat) against a malevolent killing machine that also has a protector in the nefarious Company. ~ Lucia Bozzola, Rovi