Glenn Williams Movies

A carefree young woman wakes up to discover her greatest nightmare is a reality -- she's become trapped in the body of Rob Schneider -- in this shape-shifting comedy. Jessica (Rachel McAdams) is a beautiful teenager whose life would be the envy of any high school student -- she's head of the cheerleading squad, her boyfriend, Billy (Matthew Lawrence), is the quarterback of the football team, and she's pretty and popular enough to get nearly anyone to do what she wants. However, Jessica is soon to find out how the other half lives, in more ways than she counted upon; she shoplifts a pair of earrings from an shop specializing in African curios run by Mambuza (Angie Stone), unaware that they carry the curse of Princess Nawa. Thanks to the curse, the next morning Jessica awakes to find that her spirit has entered the body of Clive (Rob Schneider), a sweaty and hirsute small-time crook. As Jessica tries to figure out how she can return to her old body, she has to lead the cheerleading squad to victory and attend her senior prom while looking like a less-than-handsome 30-year-old man. Billy is understandably puzzled by the changes in Jessica, while her best friend, April (Anna Faris), finds her feelings about Jessica change a bit once she volunteers to be her prom date. The Hot Chick is the first theatrical feature for director Tom Brady; Brady co-wrote an earlier Schneider vehicle, The Animal, and was on the writing staff for his television series Men Behaving Badly. ~ Mark Deming, Rovi

In this family drama, a white Southerner discovers that his family history isn't what he thought it was -- with the fact that he's half-black only one of his many surprises. Earl Pilcher, Jr. (Robert Duvall) runs a gas station in Arkansas; he's a typical middle-aged Southern man who likes his pickup truck and loves his momma. Shortly after his mother's death, he receives some very unexpected news; she wasn't really his mother after all. It seems that years ago, Earl Sr. (James N. Harrell) raped the family's African-American maid, Willie Mae, who nine months later died while giving birth to Earl Jr. To avoid further scandal, Mrs. Pilcher simply raised Earl Jr. as her own. While the family has kept the matter a secret all these years, Earl Jr. has a half-brother living in Chicago, and it was his mother's wish that the two should some day meet and become friends. Earl travels to Chicago and tracks down Ray Murdock (James Earl Jones), a veteran police officer and Willie Mae's other son. Earl Jr. quickly learns that Ray has little interest in getting to know him better; he knows all the facts behind the matter, and he's always blamed Earl for the death of his mother. However, Earl Jr. isn't used to life in a big city up north, and after he's mugged and carjacked, Ray grudgingly takes in his half-brother, letting him stay in the home he shares with his son Virgil (Michael Beach) and Aunt T. (Irma P. Hall), who raised Ray as a boy. A Family Thing was written by Billy Bob Thornton shortly before his breakthrough as writer, director, and star of Sling Blade. ~ Mark Deming, Rovi

Gladiator is the kind of boxing movie that goes that extra mile -- a self-loathing boxing saga that relishes in bare-knuckled sucker punches, illegal eye-rubs, and gentlemen boxers who obey the Marquis of Queensbury rules by drop-kicking opponents when the are not only down but unconscious. James Marshall plays Tommy Riley, a Windy City high school student conned into participating in the illegal underground boxing arenas of the South Side of Chicago. In high school, Tommy was a prize boxer, and this skill comes in handy when his Father (John Heard) runs up a large gambling debt. When a sleazy boxing manager (Robert Loggia) spots Tommy defending himself during recess, he offers him quick money to box. Tommy, although he hates the sport, readily agrees, thinking his winnings will help his father pay off his debts. He quickly comes under the thumb of unscrupulous boxing promoter Horn (Brian Dennehy), who is involved in fight-fixing and dirty fighting. Manipulating the odds and exploiting his boxers make Horn rich and more venal. In the rancid environment, Tommy befriends another fighter, Lincoln (Cuba Gooding Jr.), a black fighter who sees fighting as his way out of poverty. Inevitably, Horn arranges for the two friends to duke it out in the ring together. ~ Paul Brenner, Rovi

When his brother is murdered, a policeman is caught between his devotion to the law and his family's desire for revenge in this action drama. Patrick Swayze plays Truman Gates, who left his backwoods Appalachian home for life as a Chicago police officer. When his brother is killed by a gangster, Truman is determined to seek legal retribution. His older brother Briar (Liam Neeson) has different ideas, however, and travels to the city to seek old-fashioned vigilante justice. Truman must now choose between his family's belief in mountain justice and the duties of his job. Though the film is not particularly action-packed, director John Irvin does provide the expected gunplay and macho confrontations. However, despite a surprisingly distinguished cast (also including Helen Hunt and Michael J. Pollard), little distinguishes the film from numerous other revenge stories with a similar outline. ~ Judd Blaise, Rovi

Oscar-nominated in 1961 for his performance as pool hustler Fast Eddie Felson in The Hustler, Paul Newman won that award a quarter century later when he reprised the role in The Color of Money. At the end of The Hustler, Felson was banned for life from playing the game professionally. In the intervening years, he has become what the despicable George C. Scott was in the 1961 film: a front man for younger hustlers, claiming the lion's share of the winnings. His latest "client" is arrogant young Tom Cruise, who is goaded into accepting Felson's patronage by his avaricious girl friend Mary Elizabeth Mastrantonio. Cruise learns not only the refinements of the game, but also the dirty trickery that will help him lure in the suckers. As Cruise becomes successful on these terms, Felson seethes with jealousy, hitting the bottle and carelessly allowing himself to fall victim to another hustler. He tells Cruise to get lost, and vows to make an honest comeback. It is inevitable from this point onward that the younger and the older player will square off in a game for the biggest stakes of all: Fast Eddie Felson's self-respect. Both the original Hustler and The Color of Money were based on novels by Walter Tevis. ~ Hal Erickson, Rovi

An innocent country farmer experiences a number of improbable misadventures that culminate in a battle against the titular beast in this broadly comic fantasy. The first solo outing of director Terry Gilliam, who served as animator and co-director on Monty Python and the Holy Grail, returns to the medieval setting that had previously served him so well, and brings along fellow Pythonite Michael Palin for the ride as reluctant hero Dennis Cooper. Cooper's journey to defeat the fearsome Jabberwock is filled with a similar combination of traditional fairy-tale narrative and irreverent humor, which at times aims to be even raunchier than classic Python fare. But while the film is too awkward and repetitive to succeed, it does boast impressively grungy medieval sets and costumes, and flashes of the visual brilliance that would characterize Gilliam's more mature works. ~ Judd Blaise, Rovi

One man's dreams of success take him on a Byzantine journey through the various stations of the British class system in this politically charged black comedy from director Lindsay Anderson. Mick Travis (Malcolm McDowell) is an ambitious young man who is looking to get his foot on the first rung of the ladder of success by landing a job as a salesman. After the death of Imperial Coffee's leading drummer in the North, Travis' charm and enthusiasm so impresses manager Mr. Duff (Arthur Lowe) that he's given the job, and after some coaching from Gloria Rowe (Rachel Roberts), Travis sets out to find his fortune in the coffee trade. Travis' desire for success quickly sets him on a curious odyssey in which he happens upon a secret sex club for businessmen, finds himself the subject of random seductions by lonely women, is captured and tortured by military intelligence agents, submits to medical experiments at a bizarre private clinic, hitches a ride with a traveling rock band led by former Animals keyboardist Alan Price, falls in love with a beautiful young bohemian named Patricia (Helen Mirren), goes to work for her father (Ralph Richardson), who happens to be a singularly corrupt political figure, and eventually lands in prison after he's implicated in a deal to sell chemical weapons to the Third World. As Mick's strange tale progresses, we periodically visit Price and his band in the recording studio or rehearsal hall, as they work on songs which serve as both mirror and counterpoint for Travis' progress. O Lucky Man! was the second film in which Malcolm McDowell would portray Mick Travis for director Lindsay Anderson, following If..., and preceding Britannia Hospital; the film's surreal undercurrent was reinforced by the casting, in which nearly all of the principal actors play two or three roles. ~ Mark Deming, Rovi