David Earle Movies

Karen Arthur, the Emmy-winning director of Cagney and Lacey, was in the driver's seat for the made-for-TV psychological terror film Bump in the Night. Meredith Baxter-Birney plays a onetime famous reporter who's drunk herself into near-oblivion. Her turbulent life takes a desperate turn when her 8-year-old son (Corey Carrier) is kidnapped by a dangerous pedophile (Christopher Reeves). The boy has escaped from his captor, and now his mother must find him before the kidnapper does. Richard Bradford plays the cop on the case, who'd rather do without the interference of Ms. Baxter-Birney. Bump in the Night is commendably subtle and straightforward in handling the potentially lurid details of its story. Historical note: In March of 1995, Bump in the Night became the first feature film ever telecast on the E! Entertainment Cable Network. ~ Hal Erickson, Rovi

The stage is set for a series of confrontations when photographer Mark Jefferson (Tom Eplin) agrees to help his friend Roger (John Mayall) defend his night club against a handful of organized crime figures. Mark has an added incentive for becoming involved as his ex-girlfriend Carol (Cheri Cameron Newell) sings at the club. But the gangsters are willing to use mayhem and murder in order to take over Roger's business. It appears that the petty mobsters are out to sell illegal weapons to anyone who wants them, especially L.A.'s youth, instead of using the club as a front for a prostitution ring as Roger suspects. Soon Mark and his trusty motorcycle have their work cut out for them. ~ Eleanor Mannikka, Rovi

Frank Pierson's made-for-cable adaptation of Nicholas VonHoffman's biography, Citizen Cohn stars James Woods as the controversial lawyer Roy Cohn. The film is structured as a series of flashbacks while Cohn lies in a New York hospital dying of AIDS. In the 1940s and early '50s, Cohn became one of the most powerful men in the country after becoming an important associate of Senator Joseph McCarthy (Joe Don Baker) and his Communist witch hunts. The film recounts those turbulent times and features portrayals of such real-life figures as J. Edgar Hoover (Pat Hingle), Dashiell Hammett (Frederic Forrest), Cardinal Spellman (Daniel Benzali), and Walter Winchell (Joseph Bologna). ~ Perry Seibert, Rovi

In this multiple Oscar-winning thriller, Jodie Foster stars as Clarice Starling, a top student at the FBI's training academy whose shrewd analyses of serial killers lands her a special assignment: the FBI is investigating a vicious murderer nicknamed Buffalo Bill, who kills young women and then removes the skin from their bodies. Jack Crawford (Scott Glenn) wants Clarice to interview Dr. Hannibal Lecter (Anthony Hopkins), a brilliant psychiatrist who is also a violent psychopath, serving life behind bars for various acts of murder and cannibalism. Crawford believes that Lecter may have insight into this case and that Starling, as an attractive young woman, may be just the bait to draw him out. Lecter does indeed know something of Buffalo Bill, but his information comes with a price: in exchange for telling what he knows, he wants to be housed in a more comfortable facility. More important, he wants to speak with Clarice about her past. He skillfully digs into her psyche, forcing her to reveal her innermost traumas and putting her in a position of vulnerability when she can least afford to be weak. The film mingles the horrors of criminal acts with the psychological horrors of Lecter's slow-motion interrogation of Clarice and of her memories that emerge from it. ~ Mark Deming, Rovi

Knightriders may well be the only cycle flick ever to be played out in suits of armor. A hardcase motorcycle gang led by Ed Harris has found itself a neat money-making gimmick. Dressed as the knights of the round table, the cyclists pick up a few bucks at local "renaissance" fairs, selling handicrafts made by the more talented members of the gang. Harris' great rival is Tom Savini, who has his own band of "black knights." Keep an eye out for a chucklesome unbilled bit by novelist Stephen King. ~ Hal Erickson, Rovi

In this black comedy, elderly Jack Scanlan (Jack Warden) passes away just as he's about to tell his oldest son Johnny (Bob Hoskins) what he's decided is truly important in life, which does little to ease Johnny's mid-life anxieties. Jack's funeral and the subsequent wake brings together the various members of the Scanlan Family, most of whom are having troubles of their own. Johnny's mother Mary (Maureen Stapleton) is not dealing well with losing her husband. His brother Frank (William Petersen), a would-be union delegate, has a nagging wife, Denise (Debra Rush), and a pregnant daughter, Rachel (Teri Polo). His sister Nora (Frances McDormand) is a leftist nun who has brought along a guest, a South American dissident wanted by the INS. Terry (Pamela Reed) is splitting up with her husband Boyd (Tim Curry) after finally realizing that he's gay. And Johnny is thinking of quitting his job and leaving his wife Amy (Blair Brown), which makes the mysterious Cassie (Nancy Travis) seem all the more attractive. Passed Away marked the directorial debut of successful screenwriter Charlie Peters. ~ Mark Deming, Rovi

Director George A. Romero's epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 -- ten years after the first films' release -- Dawn's story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city -- seeking warm human flesh for food -- the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film's most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station's floor manager, Stephen's girlfriend Frances (Gaylen Ross). Together they steal the station's helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer's paradise... but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero's excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: "It's some kind of instinct," Stephen comments, observing the zombies' attraction to the mall; "This was an important place in their lives." Despite the glimmer of hope offered by the film's closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn's outlook for humanity: "We're not gonna make it, are we?" Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a "Director's Cut" with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed. ~ Cavett Binion, Rovi