Jeanette O'Connor Movies

A woman in love with music finds herself trapped between a husband jealous of her success and a brother-in-law with a deadly secret in this independent thriller. Lucian (Andrew Borba) is a talented but arrogantly self-important musician and composer who has recently released an album in collaboration with his wife, a free-spirited violinist and singer named Gypsy (Annunziata Gianzero). While the album has become a critical and commercial success, Lucian is unhappy with the fact that many have credited Gypsy with the album's popularity and Gypsy has already been booked for a lucrative solo tour. As Lucian and Gypsy sort out their personal and professional differences, his half-brother, Jimmy (Thomas Jay Ryan), stops by to pay Lucian a visit. Lucian and Jimmy don't always get along, and Gypsy tries to bridge the gulf between them, striking up a rapport with the moody Jimmy. What Lucian and Gypsy don't know is that shortly before arriving at their Cape Cod home, Jimmy murdered his girlfriend and dumped her body in the ocean, and when it's discovered the next day, a local police detective, Dunbarton (Richard Bakalyan) comes by asking questions. A local eccentric known as The Beachcomber (Rick Wessler) is quickly charged with the crime, as Dunbarton, convinced the killer will strike again, wants the matter taken care of as soon as possible. Meanwhile, Jimmy finds himself increasingly attracted to his sister-in-law, while Gypsy, despite the tensions between herself and Lucian, isn't ready to leave him just yet, a decision that unknowingly puts her in grave danger. ~ Mark Deming, Rovi

This made-for-TV drama covers fifteen years, from WW2 to the mid-1950s, in the lives of farm couple Gordon and Jean Holly (Richard Thomas, Annabeth Gish). A daughter of privilege, Jean had married Gordon much against her parents' wishes, whereupon the couple took charge of a ranch in California, where they raised their children. Throughout their marriage, the Hollys not only faced the disdain of their loved ones, but also the prejudices and misunderstandings of their neighbor. And why? Because both Gordon and Jean Holly were totally blind, and thus regarded by the standards of their era to be "unworthy" of parenthood and self-reliance. Based on the novel by Susan Vreeland, What Loves Sees first aired September 22, 1996, on CBS. ~ Hal Erickson, Rovi

A question of fatherhood threatens to overshadow Larry's (Garry Shandling) comeback when a woman from Montana claims that Larry is the father of her unborn child. Though he immediately denies the allegations to focus on scoring a date with Mimi Rogers, a mix-up on the part of Hank (Jeffrey Tambor) finds the mother-to-be backstage and the situation escalating. As Larry contacts his lawyer and confesses to Artie (Rip Torn) that although he knew the woman, there is no possibility that he is the father, Hank attempts to make up for his faux pas by revealing embarrassing facts about himself to the reporter who broke the story. ~ Jason Buchanan, Rovi

Full Exposure: The Sex Tapes Scandal was advertised as being inspired by "today's headlines", though most of those headlines were generated by TV tabloid shows. In her first TV movie, dethroned Miss America Vanessa Williams plays a hooker who specializes in S & M. She videotapes her kinky sexual liaisons, then blackmails the participants. When a mystery killer begins bumping off some of Williams' female compatriots, assistant D.A. Lisa Hartman (we missed that election) is called in on the case. Full Exposure: The Sex Tapes Scandal was mercifully buried in the ratings by its powerhouse competition: the premiere telecast of Lonesome Dove. ~ Hal Erickson, Rovi

Moronic teens vacationing in Demonwood Forest are terrorized by a shambling Neanderthal -- not the director, but a big goon in a fuzzy ape suit who attacks George Kennedy and hauls his daughter off into the woods to a fate worse than death... perhaps to a screening of this movie. As it turns out, the rampaging beastie (which looks like a soiled feather-duster on legs) is not the local monster of mountain legend but merely a front for the subterranean activities of a cult of devil-worshipping aliens (they could have just called the tabloids if they needed better PR), who pass the time turning the locals into zombies... not a difficult task, especially with this brain-dead bunch. Cheap sets, dime-store costumes and Dinner Theater thesping lend a certain chintzy Ed Wood charm to the proceedings, but even this level of absurdity can't cover up the fact that the film's investors -- to say nothing of the audience -- probably felt profoundly rooked. ~ Cavett Binion, Rovi