Victoria Vanderkloot Movies

Were it not for its profanity-laden opening scenes, John Hughes' Planes, Trains and Automobiles might have been suitable family entertainment: certainly it's heaps less violent and mean-spirited than Hughes' Home Alone. En route to Chicago to spend Thanksgiving with his family, easily annoyed businessman Neal Page (Steve Martin) finds his first-class plane ticket has been demoted to coach, and he must share his flight with obnoxious salesman Del Griffith (John Candy). A sudden snowstorm in Chicago forces the plane to land in Wichita. Unable to find a room in any of the four-star hotels, Neal is compelled to accept Del's invitation to share his accommodations in a cheapo-sleazo motel. Driven to distraction by Del's annoying personal habits, the ungrateful Neal lets forth with a stream of verbal abuse. That's when Del delivers the anticipated (but always welcome) "I don't judge, why should you?"-type speech so common to John Hughes flicks. The shamefaced Neal tries to make up to Del, but there's a bumpy time ahead as the mismatched pair make their way back to Chicago, first in a balky train, then by way of a refrigerator truck. We know from the outset that the oil-and-water Neal and Del will be bosom companions by the end of Planes, Trains and Automobiles, but it's still a fun ride. The best bit: a half-asleep Del thinking that he's got his hand tucked between two pillows -- until his bedmate, Neal, bellows "Those aren't pillows!" ~ Hal Erickson, Rovi

A cross between a skin flick and a futuristic fantasy, this unfunny parody is set on a remote Pacific Island where the insidious Dr. Sin Do (Angus Scrimm) whose life began long ago under the name of Li Chuk, has made a pact with Satan that gives him power over the weather. Now he is tracking down the lost "Eye of the Avatar," created by the extinct race of Lemurians before their civilization disappeared -- that jewel, when combined with Sin Do's own special jewel, will endow him with indomitable power. Sent to combat the evil "doctor" are some comely female warriors (Melanie Vincz, Raven de la Croix and others) whose bodies get more screen time than the dialogue itself -- an indication of where the main interest lies. ~ Eleanor Mannikka, Rovi

Based on a true story, Mrs. Soffel is set in Pittsburgh near the dawn of the 20th century. Peter Soffel (Edward Herrmann) is the warden of a top security prison, and his wife Kate (Diane Keaton) often comes by to read the Bible aloud to the inmates, despite her fragile health. While making her rounds, she makes the acquaintance of the Biddle Brothers, Ed (Mel Gibson) and Jack (Matthew Modine), who are sentenced to death for murder and robbery. Ed has become something of a celebrity thanks to his letter-writing campaign, in which he appeals in the letter-to-the-editor columns of the popular press to stay the execution of his brother and himself. His good looks, intelligence, and charm make a strong impression on Kate, whose marriage offers her little excitement. In time, Kate finds herself falling in love with Ed, and she discovers that she's unexpectedly receptive to his suggestion that she help him escape. Mrs. Soffel was the first American film from noted Australian filmmaker Gillian Armstrong. ~ Mark Deming, Rovi

In this feature comedy, a womanizer (Tim Matheson) marries his live-in girlfriend (Kate Capshaw) only to quickly resume his wicked ways. ~ Jason Ankeny, Rovi

Based on a novel by William Judson, Cold River is a study of the New York Adirondack region and the citizens dwelling therein. Richard Jaeckel is the only "name" actor in the cast, unless you count Robert Earl Jones, father of the better-known James Earl Jones. The villains are those old reliable Evil Land Developers who wish to despoil the terrain. Cold River was a family-oriented "four waller", designed for city-by-city distribution for a quick turnover. In this respect, it succeeded; aesthetically, it's little more than a glorified home movie. ~ Hal Erickson, Rovi

Walter Hill's hip, super-stylized action film unfurls in a dystopian near-future, when various gangs control New York City. Each gang sports a unique moniker ('The Warriors,' 'The Baseball Furies,' 'The Rogues'), with a costume underscoring its "theme"; each, in turn, is also responsible for one geographic area. Hill sets up the landscape as a massive, violent playground - replete with bridges, vacant subway tunnels, parks, abandoned buildings and the like, all ripe for exploration and adventure. As the tale opens, the titular Coney Island has traveled to the Bronx to attend a city-wide meeting of all gangs; at that event, however, the psychotic leader of a rival gang, The Rogues (David Patrick Kelly of Dreamscape) assassinates the head of the city's foremost gang, but The Warriors are pegged as culpable. This sends the gang fleeing through the labyrinthine city. With every thug in Manhattan in vicious, homicidal pursuit, they must also overcome all obstacles in their way. Throughout, Hill keeps the onscreen violence absurd, exaggerated and unrealistic, downplaying death to an extreme degree; despite this fact, the film sparked a massive amount of controversy and an ugly backlash for allegedly inciting violence and destruction in several theaters where it initially played. James Remar, Michael Beck and Deborah Van Valkenburgh lead the ensemble cast. ~ Nathan Southern, Rovi