Matthew Laurance Movies

Dudley Moore and Eddie Murphy try but fail to bring this flat comedy to life, while the story itself is hampered by intercutting between the years of 1982 in Los Angeles (Moore) and 1984 in Kuwait (Murphy), with no explanation of how these two disparate people and locations are related. Wylie (Moore) is an inept engineer trying to perfect a gyro system for his employers who contract projects with the U.S. defense department. Wylie accidentally gets some blueprints for another type of gyro -- and his company successfully manufactures the part, much to almost everyone's benefit. Unfortunately, these plans are coveted by a certain ruthless industrial spy (David Rasch), and the FBI itself is suspicious about the origins of the blueprints in Wylie's hands. Meanwhile (and in constant interspersed segments), Landry (Murphy) is trying to get his tank to stay on course, but no matter what he does the machine swerves and lunges at random -- could there be a gyro at fault here? ~ Eleanor Mannikka, All Movie Guide

Do You Know the Muffin Man? was the first of a brace of TV movies about day-care abuse (see also Unspeakable Acts). Pam Dawber and John Shea play the parents of a preschool child who comes home one day with horrible stories about the staff of his day care center. The owners of the center are two highly respected social pillars, who automatically deny all charges and accuse the parents of fabricating the whole thing. Despite the looming spectres of public ridicule and financial ruin, Dawber and Shea hire lawyers and pursue the case. Once the story switches to the courtroom, the emphasis shifts from the adult litigants to the prosecution's difficulties in coaxing the children to testify without inducing further damage. Do You Know the Muffin Man? is handled with care and discretion, though dramatically it covers more legal and emotional ground than its two-hour length can hold. ~ Hal Erickson, All Movie Guide

This sequel to the rock & roll mystery Eddie and the Cruisers explains many of the questions concerning the mysterious death of 1960s rocker Eddie Wilson, who with his Cruisers was celebrating the success of their first album when he got in a terrible car wreck, from which his body was never recovered. Also missing were the masters from the group's upcoming second album. This story begins 25-years later as Eddie Wilson is found living in Montreal under an assumed name. At this time, the masters from the second album are finally released and suddenly the whole continent is caught up in a resurgence of "Eddiemania." This inspires Wilson, who continues to use an alias, to form a new band and hit the road. Once again, his music is provided by John Cafferty and the Beaver Brown Band. ~ Sandra Brennan, All Movie Guide

The direct-to-video Ordinary Heroes stars Richard Dean Anderson as a blinded Vietnam veteran. Returning from the war with his spirit in tatters, Anderson tries to reassemble his pre-military life. He rekindles his relationship with former girl friend Valerie Bertinelli, an alternately painful and tender experience for them both. An all-but-forgotten film, Ordinary Heroes is worth at least a second look, if only for its intelligent, non-sensational treatment of the subject matter. In addition, the film contains what may well be Valerie Bertinelli's best performance. ~ Hal Erickson, All Movie Guide

Inspired by a true story, Prince of the City stars Treat Williams as a Manhattan detective who agrees to help the US Department of Justice weed out corruption in the NYPD. Williams agrees on the assurance that he'll never have to turn in a close friend. Wired for sound, Williams almost immediately stumbles upon a police conspiracy to smuggle narcotics to street informants in order to insure cooperation. While this might be condonable in a stretch, the fact is that the many cops are using the drugs on their own, and are also highly susceptible to bribes. Williams gets the goods on the miscreants, but in so doing he breaks the "code" and becomes a pariah to his fellow officers. As we learn in the unsettling final scene, Williams will always be considered a "fink," even by honest cops. Prince of the City is too long for its own good, but its opening expository sequences and its final twenty minutes more than compensate for the duller stretches. ~ Hal Erickson, All Movie Guide

Post-collegiate angst, '80s style, is the subject of this coming-of-age ensemble piece, which traces the fortunes of a group of Georgetown grads as they enter the real world and grapple with work, infidelity, and adulthood. The most outwardly upscale member of the gang, Jules (Demi Moore), hides a plethora of emotional baggage behind a chic wardrobe, an expensive apartment, a fashionable drug habit, and lots of meaningless casual sex. Her friend Wendy (Mare Winningham) has the opposite problem; a trust-fund baby with body-image issues and little sexual experience, she's hung up on Billy (Rob Lowe), a no-good, sax-playing drunkard who can't face up to his responsibilities in the job market or at home with his wife and young child. Such open infidelity is anathema to Alex (Judd Nelson), who must maintain a sense of propriety even while engaging in compulsive womanizing; after all, the Democrat-turned-Republican's nascent political career requires the sort of picture-perfect relationship he shares with girlfriend Leslie (Ally Sheedy). That doesn't sit too well with tortured writer Kevin (Andrew McCarthy), who toils away at a newspaper job and pines away for the unattainable Leslie. Unrequited love also dogs Kirby (Emilio Estevez), a law-school student whose greatest wish is to romance classy doctor Dale Biberman (Andie MacDowell), who is, alas, way out of his league. Co-written by director Joel Schumacher and his studio intern, Carl Kurlander, St. Elmo's Fire spawned the number one pop hit "St. Elmo's Fire (Man in Motion)," which was credited to John Parr but co-written by music producer David Foster. ~ Brian J. Dillard, All Movie Guide

In need of extra money, Alex (Judd Hirsch) takes a second job as general factotum -- or "gofer" -- for a small theatrical troupe. The company's egotistical producer and director have no qualms about mistreating and humiliating Alex, but he seems to take it in stride; he'd always wanted to work in the theater, and this is his chance. Only when another cabbie alerts Alex to the fact that he's being played for a fool does the worm even consider turning -- thereby setting up the surprising conclusion of this episode. ~ All Movie Guide