Carol Sutton Movies

The television series that shot Johnny Depp to stardom makes the leap to the big screen in this reboot starring Jonah Hill and Channing Tatum. Schmidt (Hill) and Jenko (Tatum) have the kind of faces that could let them pass for teenagers. Eager to prove themselves as effective policemen, the pair join the Jump Street program and go undercover to investigate a high-school drug ring. Now, the only thing more daunting than the prospect of taking on violent adolescent dope slingers is the possibility of experiencing the torture of their teenage years all over again. Ice Cube, Brie Larson, and Rob Riggle co-star. ~ Jason Buchanan, Rovi

A 1960s-era Mississippi debutante sends her community into an uproar by conducting a series of probing interviews with the black servants behind some of her community's most prominent families. Skeeter (Emma Stone) has just graduated from college, and she's eager to launch her career as a writer. In a moment of inspiration, Skeeter decides to focus her attention on the black female servants who work in her community. Her first subject is Aibileen (Viola Davis), the devoted housekeeper who has been employed by Skeeter's best friend's family for years. By speaking with Aibileen, Skeeter becomes an object of scorn to the wealthy locals, who view her actions as directly challenging to the established social order. Before long, even more servants are coming forward to tell their stories, and Skeeter discovers that friendship can blossom under the most unlikely of circumstances. Bryce Dallas Howard co-stars in a touching tale of race relations based on author Kathryn Stockett's best-selling novel of the same name. ~ Jason Buchanan, Rovi

Disillusioned charlatan Reverend Cotton Marcus (Patrick Fabian) comes face to face with pure evil after recruiting a documentary film crew to capture the final exorcism of his career. For years, Reverend Marcus has taken advantage of the faithful and desperate. Now it's time for him to finally come clean. Just as Reverend Marcus prepares to shoot the film that will set the record straight, he receives an urgent letter from a desperate farmer. The devil has taken possession of his beloved daughter Nell (Ashley Bell), and Reverend Marcus is their last hope for salvation. Up to this point it's been all fun and games; now things are about to get serious. ~ Jason Buchanan, Rovi

Bobby Long (John Travolta) is a washed up former literature professor with a voracious drinking habit. He lives in a rundown house in New Orleans with Lawson Pines (Gabriel Macht of The Recruit), his former star pupil, also an alcoholic. Lawson is allegedly writing a novel about Bobby. Their depressive little corner of the world is disrupted when Lorraine, the beloved eccentric singer who owns their house, dies. Her teenage daughter, Pursy (Scarlett Johansson), who hasn't seen her mother in years, arrives in town too late for the funeral, and crashes at the house. Afraid of being thrown out on the street, Bobby convinces Lawson to tell Pursy that the house has been left to all three of them. Pursy, having little else to do, decides to move in, and starts cleaning up the place, making it her own. Lawson is involved with Georgianna (Deborah Kara Unger), who works at the local bar, but he quickly develops a crush on the comely Pursy. The cantankerous Bobby seems determined to drive the girl away. As Pursy settles into the diverse little community, all of Lorraine's old friends tell her how much she looks like her mother, and she begins to uncover some startling truths about her family history. A Love Song for Bobby Long is based on the novel Off Magazine Street, by Ronald Everett Capps. It was adapted for the screen and directed by Shainee Gabel, who co-directed the documentary Anthem. ~ Josh Ralske, Rovi

Less lurid than its title suggests, this made-for-TV movie was based on the true story of the trials and tribulations of three generations of New Orleans prostitutes. Ellen Burstyn stars as Tommie, matriarch of the "working girl" family which operates out of a brothel in an otherwise quiet, respectable neighborhood. Tommie is the domineering boss of her daughter Jeanette (Annabella Sciorra), who had followed in mom's footsteps (so to speak) because she had no alternative. Conversely, Jeannette's daughter Monica (Dominique Swain) is showing signs of rebellion, hoping to break free from her grandmother's grasp for the sake of her own daughter Navaeh. The family's internal squabbles are played against a backdrop of federal intrigue, as the FBI works overtime to nail Tommie and her family on charges of racketeering and drug trafficking. But just when it looks like the jig is up thanks to the testimony of a local doctor, Tommie saves herself by threatening to reveal a few unsavory secrets about a few highly placed male individuals. The real-life Jeannette Maier acted as the film's technical advisor, insisting in press releases that she and her mother ran a "clean, tight, business" and that the FBI's charges were so much applesauce (it is clear where the filmmakers' sympathies lie in those scenes wherein the Feds are shown wiretapping the ladies' business when they should be concentrating on capturing the terrorist perpetrators of 9/11). The Madam's Family debuted October 31, 2004 on CBS. ~ Hal Erickson, Rovi

This sequel to director Bernard Rose's superb, metaphorical Candyman is a more straightforward Gothic horror project, discarding any association with the events of the previous film (which was based on the short story "The Forbidden" by horror surrealist Clive Barker) aside from the title entity, played again by the imposing Tony Todd. A melancholy but extremely deadly ghost, Candyman is revealed -- in a compelling sequence of flashbacks -- as the vengeful spirit of Daniel Robitaille, a black portraitist in post-Civil War Louisiana who was set upon and horribly mutilated by an angry white mob in retaliation for his affair with a plantation owner's daughter. In present-day New Orleans, at the height of Mardi Gras festivities (the film's title refers to the literal translation of the Latin "Carnival"), Candyman walks the realm of the undead, with a hook in place of the hand he lost to the lynch mob, waiting to be summoned by the recitation of his name five times into a mirror. The latest victims of his evisceration skills include members of the Tarrant family, with young schoolteacher Annie (Kelly Rowan) next in line. Her family's connection with the Candyman legend is eventually revealed when Annie visits the family estate to uncover the link between her ancestors and Daniel Robitaille himself. This is a well-executed horror film, with fine performances and good use of the subtle menace underlying the Mardi Gras ambience, but the deft hand of Barker is clearly absent, leaving a standard horror plot without the mythical resonance of the original. The chilling Philip Glass score is a definite plus, though. ~ Cavett Binion, Rovi

Based on the true-life adventures of the late Drug Enforcement Agency spy Barry Seal, this exciting espionage adventure chronicles the events that lead up to his death in 1984. Before coming to work for the DEA, smooth-talking Seal (Dennis Hopper) had been a drug smuggler for the notorious Medellin Cartel in Colombia. The DEA captures him and he agrees to become their informant. Unfortunately, though he is a master con artist, he is no match for the con men running the U.S. government agency. ~ Sandra Brennan, Rovi

The title refers to those seemingly frail Southern belles who survive any and all deprivations through whims of iron. Robert Harling's original stage play was set exclusively in a Louisiana beauty parlor where an all-female cast of characters laughed, cried and compared menfolk. The film expands the playing field by including scenes at picnics, hospitals and the like, and by visually depicting the males who never appeared in the stage version. Dolly Parton plays the goodnatured beauty-shop owner, while Shirley MacLaine is the cantankerous town eccentric, decked out in grungy overalls and speaking fluent Trash. Well-to-do Sally Field bravely endures several assaults to her sensibilities, not the least of which is the illness (and subsequent death) of daughter Julia Roberts. The performances are first-rate, with the possible exception of Daryl Hannah's overemphatic portrayal of a gawky hairdresser. The film stumbles a bit in its depiction of the male characters as fools and deadheads, and in the final overlong hospital scenes involving the comatose Roberts, which play like a road company version of Terms of Endearment. Otherwise, Steel Magnolias is a prime example of ensemble filmmaking, lovingly coordinated by director Herbert Ross. (Sidebar: Herbert Ross was reportedly rather rough on Julia Roberts, deriding her lack of experience. The rest of the female cast rallied around Roberts and told the director to lay off or pay the price). ~ Hal Erickson, Rovi

While on her honeymoon in New Orleans, a woman (Kitty Winn) is cursed by a voodoo queen and suffers terrible nightmares that begin to come true. With her husband (William Swetland), she consults a doctor (Peter Donat) for help. Originally filmed in 1978 with the title Marianne, the film was finally released to video in 1984 as Mirrors. ~ John Bush, Rovi