Happy Walters Movies

Prakazrel Michel, better known as Pras from the top-selling R&B group The Fugees, stars in this urban drama based on both his solo album Ghetto Superstar and his novel of the same name. Diamond (Pras) is an up-and-coming musician who is trying to use his creative gifts to work his way out of the ghetto after the traumatic death of his mother. But he soon discovers that the music industry is nearly as corrupt and dangerous as the streets he's trying to leave behind, and Diamond is guided into a life of crime by his shady friend Gage (Ja Rule). In addition, Diamond must content with the unexpected pregnancy of his girlfriend Tamara (Tamala Jones), and attempts by his father Cliff (Vondie Curtis-Hall) to mend their contentious relationship. Turn It Up, which was produced under the title Ghetto Superstar, also features Eugene Clark and Patricia Velasquez. Madonna helped to produce the film through her production company, Madguy Films. ~ Mark Deming, Rovi

Best buddies Abbie (Madonna), a heterosexual yoga instructor, and Robert (Rupert Everett), a gay landscaper, cope with failed relationships, the approach of middle age, and the AIDS-related death of a mutual friend by sticking together as a "family of choice." Drunk one night, they have sex, and when Abbie turns up pregnant, they decide to move in together and raise the child as decidedly unconventional co-parents. Flash forward several years and Abbie begins dating Ben (Benjamin Bratt), an investment banker. The new relationship causes tension between Abbie and Robert that ultimately leads to betrayal, courtroom confrontation, and a sudden denouement. Everett, a sometime writer of trashy comic novels such as Hello Darling, Are You Working?, reportedly supplied the film's concept and even additional dialogue, although Tom Ropelewski is the credited screenwriter. This was pop diva Madonna's first film role since the hoopla of Evita; she supplied a highly edited hit cover of Don McLean's "American Pie" and one other song for the soundtrack, which was released on her own Maverick imprint. ~ Brian J. Dillard, Rovi

The Farrelly Brothers set this romantic comedy in their home state of Rhode Island. In 1985, when teen-nerd Ted Stroehmann (Ben Stiller) challenges a high-schooler who's bullying retarded Warren Jenson (W. Earl Brown), his concern prompts Warren's sister, the dazzling and desirable Mary Jenson (Cameron Diaz) to choose Ted as her senior prom date, a fact Ted's pals find hard to believe. However, on prom night, Ted gets his penis caught in his zipper, so the much-desired date never happens. Living in Providence and waxing nostalgic 13 years later, Ted hires Pat Healy (Matt Dillon) to locate Mary, and the creepy private investigator finds her in Miami, where she lives with her tan-shriveled roommate Magda (Lin Shaye). After Pat develops a stalker-style fixation on the lovely, unattached Mary, he lies to Ted, telling him that she's now an overweight mother confined to a wheelchair. Employing professional eavesdropping equipment, Pat gathers a dossier on Mary's life and future plans, information that forms the basis for more lies when Pat begins dating her. Sure enough, Mary falls for Pat, although her friend Tucker (Lee Evans) is very suspicious of Pat's claim to be a Harvard-educated architect. Meanwhile, Ted learns the truth but continues to encounter offbeat obstacles as he accelerates to Miami in hopes of finding happiness with his true love. Former Modern Lovers singer Jonathan Richman vocalizes a narrative ballad of onscreen commentary in the Cat Ballou (1965) tradition. Most of the cast sings and frolics to Build Me Up, Buttercup by The Foundations during the closing credits. ~ Bhob Stewart, Rovi

A young drifter unexpectedly wanders into a maelstrom of bizarre sex and shameful secrets in this drama. With a mere seven dollars to his name, Clay Hewitt (Vince Vaughn) happens upon a ranch run by Delilah Potts (Kate Capshaw), a hard-as-nails widow who inherited a cattle empire from her late husband but needed no advice on how to keep it financially successful. While Delilah has become a success in business, she's had much less luck in love; to satisfy her ravenous sexual appetites, she often calls upon her various ranch hands to spend the night with her -- and they learn that saying no to the boss will only make trouble for them later on. Clay asks Delilah for a job, and she agrees; she also invites him to her bed and is startled when he turns her down. While Clay is cautiously fascinated by Delilah, his heart goes out to Flyboy (Jeremy Davies), Delilah's disturbed and withdrawn son who appears to need a friend to reach out to. Clay becomes involved with Kitty (Ashley Judd), a sweet local girl, and together they try to help Flyboy break out of his shell, only to discover that his problems -- and Delilah's -- run deeper than they ever expected. Also released under the title A Secret Sin, The Locusts marked the feature debut of writer and director John Patrick Kelley. ~ Mark Deming, Rovi

In the '70s, Roy Munsen (Woody Harrelson) was a bowling phenomenon. He was none too sharp about picking friends, though, and the champion he had to beat, "Big Ern," takes him under his supposedly friendly wing. Big Ern (Bill Murray) shows him the high-living lifestyle, and induces him to go on the road with him, hustling small-town bowlers. A couple of the men he bilks take exception to the scam, and show their displeasure with Roy by mangling his hand. Twenty years later, Roy (who now has a hook in place of his hand), earns his living as a salesman. On a visit to a bowling alley, he cannot help but notice the incredible talents of an Amish boy, Ishmael (Randy Quaid). Bowling is not part of the Amish lifestyle, but Ishmael occasionally sneaks into the bowling alley and plays a frame or two. Roy takes Ishmael under his wing, and together they begin a quest for bowling success. This comedy is directed by Peter and Robert Farrelly, who also directed Dumb and Dumber. Like those comedies, it contains a lot of gross-out jokes and bathroom humor. ~ Clarke Fountain, All Movie Guide

From director-writer Desmond Nakano comes this unusual role-reversal picture examining racism from a different perspective. Louis Pinnock (John Travolta) is a semi-literate worker in a chocolate candy factory. One day he makes a delivery to the mansion of wealthy Thaddeus Thomas (Harry Belafonte). He is noticed while he is unintentionally looking up at Thomas' wife, Megan (Margaret Avery), while she is undressing in an open window. Thomas makes sure that Pinnock is fired for this innocent indiscretion despite his years of reliable performance at the factory. Some time later, unemployed and destitute, Pinnock and his wife Marsha (Kelly Lynch) and children are evicted roughly from their home by police officers. Marsha's mother (Carrie Snodgress) takes in her daughter and grandchildren, but she won't let Pinnock stay. Police officers beat up Pinnock one day because, they say, he fits the description of a criminal suspect. Finally, Pinnock goes to Thomas's house to get an explanation for his firing, but Thomas doesn't remember the incident. Pinnock takes Thomas hostage and demands he be paid for all the hours of work he has missed. In this film, all the authority figures and wealthy people are black, and Pinnock is a member of a poor white underclass. ~ Michael Betzold, Rovi

Two young lovers go on the run from the law after a convenience store robbery goes bad in this road movie. Love and a .45 centers on philosophically inclined thief Watty Watts (Gil Bellows), who believes in a little robbery but not real violence. An ill-advised collaboration with a crazed, drugged-out biker (Rory Cochrane) ends badly, however, forcing Watty to go on the run. His girlfriend Starlene (Renee Zellweger) joins him, and the two become media darlings thanks to television coverage of their flight from the law. First-time director C.M. Talkington's combination of violence and ironic attitude recalls both 1970s crime dramas and Quentin Tarantino's violent, quirky takes on the genre. However, the film's warmed-over feel may be redeemed by its irreverent tone and appealing performances, including a self-parodying appearance by Peter Fonda. ~ Judd Blaise, Rovi