Chris Noth Movies

William Blake Herron directs this baroque family drama about dark family secrets, ear-sucking, and camel herding. The film opens with the funeral of family patriarch Grandpa Sparta (Martin Sheen). As witnessed by Little Sparta, the grieving widow Murtis (Grace Zabriskie) removes an ear from the corpse as a keepsake. Once Grandpa's will is read, family members start to reveal long untold secrets including the family's bizarre ear-fetish. This film won the Jury Prize at the 2000 L.A. Independent Film Festival. ~ Jonathan Crow, All Movie Guide

Apology stars Lesley Anne Warren (with a Stefanie Powers hairdo) as a Manhattan-based sculptor/performance artist. To enhance her latest project, Warren invites the participation of anonymous phone callers, whose voices she records. One of her unseen "collaborators" calls her up to confess to a murder--several murders, in fact. Warren strongly suspects that the mystery caller may be intending a little "performance" involving her own demise. Peter Weller co-stars as a sympathetic detective who ends up Warren's lover--but can he be trusted? Made for HBO, Apology was originally telecast July 27, 1986. ~ Hal Erickson, All Movie Guide

Management consultant Diane Keaton has no time in her life for anything except her high-profile job. All this changes when she inherits a 14-month-old infant from a pair of recently deceased-and very distant-relatives. Intending to put the child up for adoption, she discovers that she has grown fond of the kid and has begun to thrive on the responsibilities of motherhood. All of this, of course, jeopardizes Keaton's love life and professional standing, but all turns out well when the baby inadvertently leads to a whole new moneymaking agenda for our heroine. Capraesque in concept, Baby Boom avoids phony sentiment and obvious humor, emerging as one of the singular comic delights of the late 1980s. On great bit has Keaton "celebrating" a major business coup by surreptiously performing an under-the-table jig (a bit of business that dates back to the 1924 Reginald Denny comedy Skinner's Dress Suit). Baby Boom was spun off into a TV sitcom in 1989, with Kate Jackson filling Diane Keaton's designer shoes. ~ Hal Erickson, All Movie Guide

An exploration of human survival and the ability of fate to alter even the tidiest of lives with one major event, Cast Away tells the story of Chuck Noland (Tom Hanks), a Federal Express engineer who devotes most of his life to his troubleshooting job. His girlfriend Kelly (Helen Hunt) is often neglected by his dedication to work, and his compulsive personality suggests a conflicted man. But on Christmas Eve, Chuck proposes marriage to Kelly right before embarking on a large assignment. On the assignment, a plane crash strands Chuck on a remote island, and his fast-paced life is slowed to a crawl, as he is miles removed from any human contact. Finding solace only in a volleyball that he befriends, Chuck must now learn to endure the emotional and physical stress of his new life, unsure of when he may return to the civilization he knew before. Cast Away reunites star Hanks with director Robert Zemeckis, their first film together since 1994's Oscar-winning Forrest Gump. ~ Jason Clark, All Movie Guide

After emigrating to the United States in 1969, Czech-born director Ivan Passer finally broke through to American audiences with his fourth film, a unique blend of mystery and social commentary. Cutter's Way is set in Santa Barbara, CA, a community of wealth and power. Its main characters, however, are among the town's have-nots: Richard Bone Jeff Bridges, a beach-boy gigolo starting to go to seed; Bone's best friend Alex Cutter (John Heard), a Vietnam veteran maimed in body and spirit; and Mo (Lisa Eichorn), Cutter's alcoholic wife. When Cutter spots one of the community's most prominent citizens in the act of covering up a murder, Bone insists that the police would never take their word over that of a man of wealth and prestige. Cutter seizes the opportunity to blackmail the killer, as a means of striking back at a system he thinks sent him off to an unjust war and ruined his life. The film was fortunate to fall into the hands of United Artists Classics, a new division of the company crippled by the financial disaster of Heaven's Gate. UA Classics adroitly marketed Cutter's Way, riding a wave of rave reviews and good word-of-mouth among more discriminating filmgoers to modest box-office success. ~ Tom Wiener, All Movie Guide

Essentially a feature-length episode of NBC's long-running series Law & Order, this crime and courtroom drama marks the return of Chris Noth (Detective Mike Logan) to Manhattan's 27th precinct. For the past three years, Logan has been stuck on Staten Island, the result of an incident in which he lost his temper. Regretting his outburst, Logan yearns to return to his home station. A murdered hooker's body found floating in the harbor may provide the key to his return. ~ Sandra Brennan, All Movie Guide

Investigating the highly suspicious death of the person suspected of ambushing three of his fellow homicide detectives, Bayliss (Kyle Secor) runs up against a wall of departmental silence. Meanwhile, wounded detective Felton (Daniel Baldwin) returns to work, though he hasn't recovered emotionally from his ordeal -- nor is he prepared for the hostility attending his return. Pembleton (Andre Braugher) and Lewis (Clark Johnson) have a falling out during the seemingly random killing of a white woman in a black neighborhood. And Munch (Richard Belzer) discovers that he has been used as the "model" for a painting hanging in an art gallery exhibit. Chris Noth makes a cameo appearance in his Law & Order role as Detective Mike Logan. ~ Hal Erickson, All Movie Guide

This ambitious, four-hour cable miniseries stars Jeremy Sisto (taking time off from his regular series Six Feet Under) as Roman general-turned-emperor Julius Caesar. Expensively filmed in Malta and Bulgaria, the production vividly traces Caesar's rise to prominence as a brilliant military tactician (with remarkably accurate battle scenes); his complex relationships with his mentor General Pompey (Chris Noth) and his second wife Calpurnia (Valeria Golino); his ideological tiltings with Senator Cato (Christopher Walken), who advocates democracy over Caesar's dictatorial ambitions; and his bloody (but inevitable) murder at the hands of former friends and allies. Taking some dramatic license with the facts, the film is basically sympathetic to its subject, although Caesar is depicted as a flawed man, both physically and morally. Giving Caesar points for being fundamentally honorable, in full possession of his faculties, and possessing the "common touch" with the Roman citizenry, the teleplay does not shrink away from the man's violent epileptic seizures, his megalomania, his casually calculated cruelties, and his bigamous relationship with Egyptian queen Cleopatra (Samuela Sardo). Interestingly enough, however, the miniseries downplays his notorious bisexuality ("Every man's woman and every woman's man"). In his final performance, Richard Harris appears as Caesar's wily bête noire, Roman dictator Sulla. Caesar was first telecast in the U.S. on June 29-30, 2003, by the TNT cable network. ~ Hal Erickson, All Movie Guide

In this murder mystery, one twin sister assumes the identity of the other after she is killed in a boating accident. She does not realizes that the dead twin held a fatal secret. ~ Sandra Brennan, All Movie Guide

"In the criminal justice system, the people are represented by two separate, yet equally important, groups: the police, who investigate crime, and the district attorneys who prosecute the offenders. These are their stories." With this pithy but all-inclusive prologue, thus began each hour-long episode of Law & Order, American network television's longest-running police drama.

This was not the first such program to equally divide its time between the arrest and the trial; indeed, there had been a series precisely titled Arrest and Trial back in 1963. But Law & Order was easily the most popular and successful of the batch, and as the series eased gracefully past its 11th, 12th, and 13th season, it was very likely that its creator and executive producer Dick Wolf would fulfill his dream of matching and even surpassing the longevity of Gunsmoke, which lasted 20 years, setting a record as American network television's most durable dramatic series. Although Law & Order boasted a large and fluid ensemble cast, there were no real "stars" per se, save for the city of New York (a point made by scores of TV historians, notably Tim Brooks and Earle Marsh). Virtually every episode starts out with the discovery of a dead body or evidence of a violent crime. A pair of NYPD detectives arrive on the scene, begin gathering evidence and eyewitnesses at the behest of their superiors, and -- generally after a handful of frustrating dead ends and false leads -- manage to collar the principal suspect. The story then shifts to the offices of the DA, where a team of brilliant prosecuting attorneys do their best to build a case against the accused, dodging the obstructive tactics of defense lawyers all along the way. Even when the case gets to court, the story is far from over, with several twists and turns -- and usually a shocking and unexpected denouement -- awaiting both the prosecutors and the viewer.

The series made its NBC network debut Thursday, September 13, 1990, moving to its originally scheduled Tuesday-night slot October 23. The original cast included, on the side of "Law," chubby, hard-boiled veteran detective Sgt. Max Greevey (George Dzundza) and his younger, more athletic partner, Mike Logan (Chris Noth). Their supervisor was Captain Donald Cragen, played by Dann Florek. Once the detectives had completed their share of the work, the scene changed to the "Order" team of District Attorney Adam Schiff (played by Steven Hill), who appeared in all but the pilot episode, and a brace of intense, dedicated assistant DAs, the Caucasian Ben Stone (Michael Moriarty) and African-American Paul Robinette (Richard Brooks). The program's first season had several distinctions: In keeping with network's promise of delivering TV's top "action series," the scenes in which Greevey and Logan track down the perp are top-heavy with noise and violence (generally implied, but not always so), vertigo-inducing handheld camerawork and punchy background music. Also, individual scenes run a bit longer than the later short-and-sweet vignettes that would become the series' stylistic trademark. And unlike the relatively dispassionate detectives seen in later seasons, Greevey and Logan tend to become emotionally involved in their work; similarly, lawyers Stone and Robinette seem to take every legal setback personally, much more so than their successors in the series' subsequent years, although DA Schiff exhibits as much calm, stoic integrity in his first appearance as he would in his last, a decade later. Even in its earliest episodes, however, the emphasis is on the story rather than personalities: All we learn of the regulars' private lives is revealed in fragmentary fashion, and only when it bears some relevance.

Fans of the latter-day Law & Order will notice that the first season lacks the gender balance of the series' later years -- or, put more bluntly, the series was pretty much an "all boys' club." Although dozens of prominent actresses appeared in supporting roles, there were no regular female characters, a fact that tended to weaken the series' ratings in its formative seasons. Still, it would not be until the fourth season began in 1993 that any distaff characters would be added to the weekly lineup. One element of the series was established early on and would remain in place forever afterward: Most of the stories on Law & Order were "ripped from today's headlines," often with only the names changed to protect the innocent (?). In season one alone, the series offers fictionalizations of the Bernard Goetz subway shootings, the Menendez killings, the Central Park "Preppie Murder," the "Mayflower Madam," the Tawana Brawley imbroglio, and the Steinberg child-murder case. So close did the last-named episode come to the actual facts that the series' producers were compelled to include a disclaimer at the beginning of several episodes, assuring viewers that, although the story was inspired by real happenings, the script itself was otherwise purely a work of fiction. The fact that Law & Order was frequently pre-empted by network specials indicated that NBC wasn't all that sure of the series' success. By the end of the first season, however, the ratings, if not spectacular, were good enough to warrant a renewal -- while backstage intrigues assured that the series would undergo the first of its many abrupt cast changes. ~ Hal Erickson, All Movie Guide

Another major casting change occurred during the third season of Law & Order, although not until the series had offered eight episodes. In "Prince of Darkness," an undercover police operation goes tragically awry, and Detective Phil Ceretta (Paul Sorvino) ends up seriously wounded. Though Ceretta would recover sufficiently to take up a desk job, Sorvino himself decided to leave the series for good; like George Dzundza before him, the actor felt that the series' format was too confining for his talents. Brought in as Mike Logan's (Chris Noth) new partner was Jerry Orbach as laconic veteran detective Lennie Briscoe, a recovering alcoholic with a multitude of family problems (which, in fine old Law & Order tradition, were only revealed to the audience on a "need to know" basis). At the time Orbach joined the series, there was much speculation (usually tongue-in-cheek in nature) as to how long it would be before he, too, was shot down in the line of duty, just like Logan's two previous partners, Greevey and Ceretta. As it turned out, Orbach not only outlasted Noth as Logan, but by season 13, he had been on the series longer than any other regular. A few stylistic changes marked season three. The "street action" was more or less cut to the bone, as was the background music. Also, in answer to viewer demand, the handheld camerawork became more steady and less distracting. One thing still remained constant from season one: the series' lack of regular female characters. At least Carolyn McCormick, in the recurring role of police psychologist Dr. Elizabeth Olivet, was spotlighted in the compelling episode "Helpless." Once again, Law & Order was honored with several Emmy nominations during the 1992-1993 season. This time out, the series copped the Emmy twice, for Elaine Stritch's guest-star turn in "Point of View" and for Constantine Makris' photography. Ratings remained steady, if not spectacular, but things would change dramatically during the next season. ~ Hal Erickson, All Movie Guide

The biggest news surrounding Law & Order's fifth season was the acrimonious exit of series regular Michael Moriarty, who, since the program's inception, had upheld the "Order" part of the program as Executive Assistant DA Ben Stone. According to the script, Stone quit the DA's office in disgust and despair after a witness to whom he'd promised protection was murdered. In truth, Moriarty had long been dissatisfied with the diminishing amount of screen time afforded the DA's office -- and he was also worried that then-U.S. Attorney General Janet Reno would make good on her promise to purge network TV of "excessive violence," a move he felt would emasculate reality-based series like Law & Order. With the departure of Ben Stone, a new face was added to the series' judicial lineup: Assistant DA Sam McCoy, played by Sam Waterston. Like his colleagues, McCoy was a basically decent, but decidedly imperfect, human being; famous for walking a very thin line between ethics and legal flim-flammery, he was also a renowned womanizer, having slept with virtually all of his former law partners -- a fact that added a fascinating dimension to his relationship with State's Attorney Claire Kincaid (Jill Hennessy). Despite its so-so ratings, Law & Order had enough viewer support and industry clout to survive its fifth season, passing the 100-episode mark with "Progeny" (although NBC, refusing to acknowledge the existence of the series' 1990 pilot episode because it had been commissioned by CBS, insisted that "Rage" was Number 100). One indication that the series was supported by its network was the fact that the producers were given enough production money to complete 23 episodes, rather than the standard 22. In what was rapidly becoming a Law & Order tradition, the 1994-1995 season ended with the exit of still another character. In the season finale, "Pride," Detective Mike Logan Chris Noth was yanked from homicide and reduced to pounding a beat on Staten Island after punching out a homophobic councilman. In real life, producer Dick Wolf decided not to renew Noth's contract, feeling that the actor had reached the limits of his character -- and that the world-weary Mike Logan did not provide enough contrast with his equally hard-bitten, acerbic partner Lennie Briscoe (Jerry Orbach). Although Noth never returned to the weekly version of Law & Order, he was able to persuade the series' producers to fashion a spin-off TV movie, 1998's Exiled, which tied up the loose ends of Logan's career. ~ Hal Erickson, All Movie Guide