Lisa Eichhorn Movies

The detectives go after the person who apparently shot down a cop in cold blood. Upon arrest, the suspect, a black teenager, claims to have committed murder out of vengeance stemming from a botched police investigation. Handling the defense is flamboyant celebrity attorney Carl Halpert (Gregory Hines), who in his media-savvy efforts to transform the trial into a racial issue, also manages to unearth a number of disturbing truths about the New York justice system. ~ Hal Erickson, All Movie Guide

Not to be confused with the 50-minute television documentary of the same name, the made-for-British-TV biopic Diana: The People's Princess stars Amy Seccombe as the title character. Rather than rehash the tumultuous marriage between Diana and Prince Charles (Robert De Newby), the film focuses on the protagonist's last 14 months on Earth, from her divorce in May of 1996 to her tragic death in August of 1997. Adroitly blending heartbreak with triumph, the script details Diana's loss of her royal title, her troubled relationship with sons Harry (Rory Jennings) and William (Freddie Sayers), her ongoing travails with the press and papparazzi, her extensive humanitarian activities (with Nelson Mandela and Mother Theresa making token appearances), and her romance with Dodi Ay Fayed (George Jackos), who was fated to die with Diana in that infamous car crash. Seemingly dedicated to bestowing sainthood upon Princess Di, the film manages to make her antagonists as unpleasant and unsympathetic as possible, with an inordinate amount of scorn heaped upon Dodi's former fiancée! First telecast in the U.K. on April 12, 1998, Diana: The People's Princess debuted in the U.S. courtesy of the TNT cable network on August 29, 1999, on the eve of the second anniversary of Diana's death. ~ Hal Erickson, All Movie Guide

At a bachelor auction to benefit a Biotech institute, likable "Angel of Death" Andrew (John Dye) is entered as one of the prizes. The winning bid is registered by Dr. Kate Calder (Stephanie Zimbalist), who has only entered the auction to spite her rival Beth Popik (Lisa Eichhorn)--and as such, Kate flatly refuses to go out on a date with Andrew. Under normal circumstances, Kate's turndown would be the end of the story. Instead, Andrew is ordered by his Heavenly predecessor Adam (played by former series regular Charles Rocket in a return appearance) to take Kate out no matter how much she protests--and to make certain that Adam fulfills his assignment (the purpose of which is not revealed until late in the proceedings), Monica (Roma Downey) and Tess (Della Reese) set up an "instant" restaurant! ~ Hal Erickson, All Movie Guide

The CEO of a brokerage firm currently under Federal investigation suddenly disappears. Jessica (Angela Lansbury) becomes involved in the situation when the last call made by the missing executive is traced to her phone. A dogged Federal prosecutor demands that Jessica face the grand jury investigating the matter--and then charges her with contempt when she speaks to a witness who later turns up dead. ~ Hal Erickson, All Movie Guide

In this made-for-cable-TV crime drama, New York detective Devlin must prove that he is innocent of killing his brother-in-law, a mayoral candidate. It is not easy for the unhappily married, alcoholic gumshoe because he suspects that the man trying to frame him is his arch nemesis, his corrupt father-in-law, a powerful local politician. Now while trying to save his neck and solve the murder, Devlin finds himself pursued by both his fellow cops and the mob. ~ Sandra Brennan, All Movie Guide

Pride and Extreme Prejudice was first seen January 17, 1990, on the USA Cable TV network. Brian Dennehy is atypically but effectively cast as an ageing CIA agent headquartered in West Germany. Dennehy has recently recovered from a nervous breakdown, and as a result he falls under the deadly scrutiny of both the CIA and the KGB. The weary "mole" is sent on a mission in the Eastern sector from which neither side expects him to return--in fact, they're hoping he won't. Just a tad outdated by late-breaking world events, Pride and Extreme Prejudice was written directly for television by Frederick Forsyth. ~ Hal Erickson, All Movie Guide

Blind Justice is a fact-based TV movie starring Tim Matheson, here made to look "normal" with glasses and mustache. The innocent Matheson is fingered by witnesses as an armed robber/kidnapper/rapist. For the next 14 months, his life is hell. Too much circumstantial evidence surrounds the case, and too much information leaks out to the public; even if Matheson beats the rap, he'll be ruined in his community. Blind Justice was first telecast on March 9, 1986. ~ Hal Erickson, All Movie Guide

Clichéd, slow-paced, and with a well-worn storyline, this melodrama revolves around the sad tale of Olivia (Lisa Eichhorn), a woman who falls in love with Rollo (Michael York), a married man, and then suffers torment when she becomes pregnant and realizes she has no choice but to abort the baby. Predictable from the very beginning, this mediocre film is raised up several notches by Lisa Eichhorn's interpretation of Olivia. ~ Eleanor Mannikka, All Movie Guide

In the middle of the 19th century, the stern and somewhat puritanical values of native New Englanders were little changed from early Colonial times. In this adaptation of Henry James' novel The Europeans, The Countess Eugenia (Lee Remick) and her brother Robert (Robin Ellis) are expatriate Americans who have grown up mainly in Europe. They have also grown accustomed to living well and have returned to see their New England relatives to try and take advantage of their prosperity by contracting an advantageous marriage with one of their wealthy cousins. The American cousins see them as charming, well-educated, and shockingly dissolute. Despite some successes, Eugenia is unable to achieve her objectives, but Robert fares somewhat better. ~ Clarke Fountain, All Movie Guide

Young lovers and small-time New Orleans scammers Coco Chavez (Carla Gugino) and Junior Armstrong (Simon Baker-Denny) move up a few rungs when they kidnap wealthy computer mogul Ben Dyson (Greg Wise) in Sebastian Gutierrez's neo-noir. During the crime, Coco kills Dyson's girlfriend, Patty (Beverly Penberthy), wife of Senator Rupert Hornbeck (Hal Holbrook). Assigned to the case are FBI Agent Sadie Hawkins (Emma Thompson) and Police Lt. David Friedman (Alan Rickman). When Hornbeck threatens Friedman instead of assisting him, the detective suspects that this is no ordinary kidnapping for ransom, and he does his own investigation. A conscience-stricken Coco realizes that she may have been set up to kill Patty, and she, too, takes matters into her own hands. A fairly complex tale of betrayal and corruption, Judas Kiss also spoofs noir conventions -- for instance, agent Hawkins is reading Jim Thompson's crime novel The Killer Inside Me, and he discusses the writer's works with Friedman during lulls in the action. ~ Steve Press, All Movie Guide

George Sluizer's 1992 English-language remake of his 1988 Dutch thriller The Vanishing follows the same plot-line as the original film, yet with one important difference. The film details a young man's (Kiefer Sutherland) search for his girlfriend (Sandra Bullock), who disappeared at a gas station after the couple had a fight. Where the original film didn't reveal what happened to the girlfriend until late into the movie, the 1992 version opens with her kidnapper (Jeff Bridges) plotting his abduction. Over the course of the film, Sutherland's search for Bullock is intercut with footage of Bridges that illustrates his mental illness and his repeated attempts to abduct women. ~ Stephen Thomas Erlewine, All Movie Guide

An entertaining hybrid of Amicus-style horror anthology and gritty low-budget western, this first-time effort from writer-director Wayne Coe succeeds where many such genre-bending attempts have failed. The quartet of uneven but well-mounted stories are spun around a desert campfire by grizzled, menacing bounty hunter Morrison (a rousingly hammy James Earl Jones) and wet-behind-the-ears city slicker Farley (Brad Dourif). Morrison starts off with the tale of an Indian tribe's ritual revenge against the drunken cracker who desecrates their sacred burial ground; When Farley seems interested but unfazed, Morrison follows up with the more visceral story of a Good Samaritan who succumbs to temptation while rendering aid to a pregnant woman, leading to a particularly disgusting (though definitely original) demise. Appalled by the storyteller's lack of taste, Farley counters with a down-to-earth morality tale involving a prairie settler's young daughter who witnesses her father's horrifying act of hate, realizing that the man she trusted with her life is a very human breed of monster. Morrison acknowledges his companion's skill but offers another violent story according to his own idiom -- that of a slick gunfighter who gets his comeuppance by his own hand after winning a deadly competition. The stories feature fine acting and direction but are ultimately overshadowed by the engaging framing story and lack much of the dramatic payoff of their earlier British counterparts. ~ Cavett Binion, All Movie Guide