Michelle Johnston Movies

A simple misunderstanding leads to a storybook romance, and the opportunity of a lifetime for a talented young singer suffering at the whims of her wicked stepmother and conniving stepsister. Young Katie (Lucy Hale) has the voice of a natural born superstar. But just as Katie comes close to realizing her dream, her jealous stepsister (Megan Park) tries to steal the spotlight. Meanwhile, Luke (Freddie Stroma) has just heard Katie 's voice for the very first time, and fallen madly in love. Now, in order to grab hold of her dreams and find happiness with Luke, the girl with the golden voice must finally learn to stand up for herself, and kiss her fears goodbye. ~ Jason Buchanan, Rovi

Disillusioned with romance during her whirlwind trip to Rome, an ambitious New Yorker defiantly swipes a few magic coins from a "foolish" wishing fountain, inadvertently igniting the passions of a motley crew of suitors as she's pursued by a handsome reporter with charm to spare. Beth (Kristen Bell) is at a point in her life where love seems like a luxury she just can't afford. Years of waiting for that perfect romance has made Beth bitter, and one day, while vacationing in Rome, she cynically plucks a handful of coins from a local fountain of love. Almost immediately thereafter, Beth finds herself fending off the advances of a diminutive sausage magnate (Danny DeVito), a lanky street magician (Jon Heder), a doting painter (Will Arnett), and a narcissistic male model (Dax Shepard). Meanwhile, a smitten reporter (Josh Duhamel) does his best to convince Beth that true love isn't just a topic of fairy tales and romance novels. ~ Jason Buchanan, Rovi

Cute but geeky high-school student Samantha Martin (Hilary Duff) is knocked off her feet by her father's untimely death, which leaves his diner and Samantha's well-being in the care of Fiona (Jennifer Coolidge), Sam's thoroughly wicked stepmother. Not one to take on such menial tasks as dishwashing and mopping floors, Fiona exploits Sam's dependence as a method of hoisting any dirty work off her own shoulders. School is hardly a break for Samantha, particularly when Shelby (Julie Gonzalo) is around; spoiled, wealthy, and popular, Shelby treats Samantha nearly as badly as Fiona does. Samantha's life is irrevocably changed, however, by two events: a makeover of epic proportions and a sudden electronic correspondence with a mysterious young man. Due to a misplaced cell phone and a series of fateful coincidences, Samantha and her Prince Charming develop a romance through text messages and e-mails, and ultimately promise to meet face-to-face at the biggest school dance of the year. Of course, getting there doesn't go smoothly, and Samantha may miss her chance to meet her dream date -- none other than Austin (Chad Michael Murray), the most popular boy in school. ~ Tracie Cooper, Rovi

The first season of Michael Moore's television show The Awful Truth consists of 12 episodes and is a sound introduction for those unfamiliar with Moore's guerilla style of social-conscience filmmaking. After his original show, TV Nation, was canceled by NBC, Moore moved to Bravo, a more accommodating network that would allow him to proceed with his ideas. Each episode of The Awful Truth is 30 minutes long, opening with a monologue by Moore and leading to a journalistic exposé of some social wrong typically perpetrated by a large corporation. Much like he did in his documentaries Roger & Me and The Big One, Moore often ambushes his targets, surprising them and forcing them to speak candidly. This candor helps produce the scathing edge that has made Moore's projects so popular. Among the highlights of the 12 episodes are Moore and crew busting a giant health insurance company that tries to avoid paying for an organ transplant to save a man's life, confronting homophobic and hate-spewing Rev. Fred Phelps in a pink RV christened the "Sodomobile," and sending an Awful Truth mascot chicken into Disney World to expose the deplorable working conditions of the employees in costume. Some people may be turned off by Moore's leftist politics and his labor-friendly attitude, but most will not be able to deny his sincere efforts to hold corporate crooks responsible for their actions. The DVD version of The Awful Truth contains a biography of Michael Moore and several amusing outtakes from the filming of the show. ~ Ed Atkinson, Rovi

"I'm gonna dance," Nomi Malone (Elizabeth Berkley) insists in the opening scene of Showgirls, and dance she does. In this quasi-update of All About Eve, Nomi is a drifter whose sole ambition is to headline the "Goddess" topless dance show at the Stardust in Las Vegas. Of course, even Nomi must pay her dues, and she does so at the Cheetah, grinding poles and lap dancing her way to a future. Fortunately, her roommate, Molly, works at the Stardust and invites Nomi to see the show, where she meets Crystal Conners (Gina Gershon, in the Bette Davis role), with whom she immediately forms a love/hate relationship. Nomi soon learns what she must do to get ahead, and the rest of the film documents her cat-like crawl up the showgirl ladder of success. Directed by Paul Verhoeven, (Robocop, Basic Instinct, The Fourth Man), Showgirls was conceived as the first big-budget "adult" film since 1977's Caligula, and the first such production to wear the NC-17 rating; its failure at the box-office discouraged further attempts at large-scale adult productions. ~ Dylan Wilcox, Rovi

John Travolta stars as a hip music teacher in this old-fashioned pseudo-musical set in 1955, the dawn of the rock n' roll era. Travolta is Jack Cabe, a musician on the run in Texas for murdering a man during a recording session. Attempting to elude the law, Jack takes refuge at the Benedict School for Boys, where he is hired as a music instructor by school director Eugene Benedict (Richard Jordan). At the school, he sets teen rebel Jesse Tucker (James Walters) straight by introducing him to the new music called rock n' roll. But Jack doesn't just stop there, and soon all the youngsters are snapping their fingers to the devil's music instead of keeping time to John Philip Sousa. This steers Jack on a collision course with Eugene, who doesn't appreciate the rhythm and the blues of rock n' roll. As if that weren't enough, Jesse has taken it into his head to seduce Sara (Heather Graham), Eugene's beautiful daughter. Meanwhile, Jack has problems of his own. With the law closing in on him, he is ready to take it on the lam to another state. But the big school concert is coming up and he doesn't want to let his students down. Should he stay to play the gig and risk arrest, or elude the law and take off down the road to freedom? ~ Paul Brenner, Rovi

Saturday Night Live star Dana Carvey had his first leading role on the big screen in this comedy. Eddie (Carvey) and Lou (Todd Graff) are a pair of small-time con artists deep in debt to Pinkie (Mike Bacarella), a loan shark. During a lean period, Eddie and Lou resort to breaking and entering to make some money, but as they're clearing out a house, they overhear the answering machine announce that the owner is away on business for a few weeks -- and the housesitter won't be able to stop by. Eddie and Lou settle in and enjoy their good fortune, which just gets better when Milt (Robert Loggia) pays a visit. Milt assumes that Eddie is the housesitter, who is a close friend of his son. Eddie is soon introduced to Milt's beautiful daughter, Annie (Julia Campbell), and Milt decides that Eddie is executive material at his successful manufacturing firm. Soon Eddie starts to wonder if he should go on lying to the people he's come to like -- and there's the little matter of the 60,000 dollars that Eddie and Lou swiped from Pinkie's car. Opportunity Knocks also features Milo O'Shea and James Tolkan. ~ Mark Deming, Rovi

A nerdly stagehand at a nightclub falls for a performer/waitress who is forced to endure harassment from her gangster boss. After taking lessons on suavity from a gigolo "count," the young man finally wins her affections. ~ Kristie Hassen, Rovi

Director Sylvester Stallone proves you really can't go home again in Staying Alive, the absurd sequel to Saturday Night Fever. The story finds Tony Manero (Travolta) six years later working as a waiter in a nightclub while he tries to realize his dreams of dancing on Broadway (what tough street kid from Brooklyn doesn't?) He eventually makes the cut as an extra for "Satan's Alley" (billed as "a musical trip through Hell") and immediately sets his sights on the show's snooty prima-donna star (Finola Hughes, decidedly unsuited for such dancing as her role requires). Meanwhile, the nice girl he's been seeing (Cynthia Rhodes) stands by her man, waiting patiently for him to come around. When the male lead can't cut it, Tony is offered the part, and tensions rise. The action culminates in the show itself and Tony's ultimate realization that he needs to please only himself. Indeed, the horrific dancing combined with Frank Stallone's inane musical score makes one wonder just how accurate the show's billing of "a musical trip through Hell" actually is. As long as one disassociates this film from its predecessor, Staying Alive is highly enjoyable for its schlock value; it may well be an inadvertent camp classic for Travolta's sweaty thongs alone. As for Stallone's direction and screenwriting abilities, he proves he is better off to remain an underdog prize-fighter/ commie-killer/mercenary cop/ double-fisted union leader/etc... ~ Jeremy Beday, Rovi