Holly Fields Movies

The fine line between failure and success is as thin as the thread that separates love and tragedy, and in this tale of a self-destructive artist attempting to regain his identity after a harrowing bout with commercial success, one man finds out just how difficult it can be to built a stable future on the foundation of an uncertain past. Julian Lamont (Jason Barry) is a reclusive alcoholic who has invented a new genre of art. Inspired by his own deep-rooted self-loathing, "destructionism" allows the artist to unashamedly embrace their inner-hatred for the stranger in the mirror. Now, as Julian is compelled to take responsibility for his own actions while finally exploring the interpersonal relationships that have come to define his existence, he will finally find out what kind of artist he really wants to become. ~ Jason Buchanan, Rovi

When this final episode of The O.C.'s first season originally aired in May of 2004, producer Josh Schwartz refused to reveal any plot details, though he made a tantalizing promise: "I think people will be upset, but they won't be disappointed." As expected, most of the episode is taken up with the wedding of gold-digging Julie Cooper (Melinda Clarke) and scheming Caleb Nichol (Alan Dale). However, there is still time aplenty to deal with other major plot developments -- not least of which is Theresa's (Navi Rawat) announcement that she is pregnant, and that Ryan (Ben McKenzie) is possibly the father. ~ Rovi

Upon discovering that the love of his life is set to marry another man, a determined twenty-something puts his life on hold in order to travel across California and stop the wedding. But how does one make such an all-important trip when they've got neither a car to carry them nor a dollar to buy a bus ticket? As he hits the open road alone and desperate, this lovelorn Californian encounters a life he's never known, a love he's only dreamt of, and a long-buried secret that could change everything. ~ Jason Buchanan, Rovi

Monica (Roma Downey), Tess (Della Reese) and Andrew (John Dye) are hired as coordinators for the wedding of Alison Miller (Brigid Walsh) and Kevin Abernathy (Ed Kerr). The sudden and unwelcome appearance of Alison's much-despised father Stan (Richard Gilliland) prompts her to question the whole concept of marriage, and to seriously consider calling the whole thing off. With this in mind, Monica cannot figure out what possessed Tess to invite Stan--until it is revealed that Alison's "perfect" mother Harriet (Linda Kelsey) is just as responsible for the the transgressions of the past as her prodigal father, and just as much in need of forgiveness. Sally Kellerman contributes a sparkling performance as a scatterbrained novelist. ~ Hal Erickson, Rovi

People-eating plants sown from outer galaxies are turning local yokels into human zombies. Watch this, and you're probably already one yourself! It's hard to believe that the creators of this film hadn't just viewed The Invasion of the Body Snatchers. However, this could pass as pretty good comedy. ~ Rovi

A gentle remonstration to those who avoid any TV movie with the name Suzanne Somers attached to it: Do not pass up Ms. Somers' Keeping Secrets. The actress plays herself in this painful retelling of her formative years as a member of a dysfunctional family. Ms. Somers' father, played by Ken Kercheval, is a chronic alcoholic, but it is expected--no, demanded--of the other children that this family problem be kept secret from the world. The long-ranging ramifications of her bitter childhood include the failure of Somers's first marriage, one arrest, inclinations towards suicide, and a crippling inability to control any aspect of her own life or career. Even the foreknowledge of Suzanne Somers' eventual recovery and success does not dull the edge of this compelling (albeit uneven) film. ~ Hal Erickson, Rovi

The Tanners' pet cat Lucky dies, saddening the family and frustrating ALF, who never got to make a meal of the feline. Even at the family's funeral for Lucky, ALF manages to transform his eulogy into a dinner request! Developing an insatiable hunger for cats of any kind, ALF proves to be quite a problem for the Tanners--until an up-close-and-personal encounter with a litter of kittens forces him to do some serious soul-searching. ~ Hal Erickson, Rovi

Adapted by Whitley Strieber from his book about his alleged contacts with aliens, Communion dramatizes a story all the more compelling for the author's insistence that it is true, complemented by Christopher Walken's enigmatic performance as Strieber. The film begins in October 1985, as Strieber is living in New York City with his wife Anne (Lindsay Crouse) and son Andrew (Joel Carlson). He is hunting for new book ideas without making much headway. He spends his days pacing around his apartment, thinking out loud or videotaping himself as he improvises bits of dialogue. It is soon decided that a vacation is in order, so, with their friends Alex (Andreas Katsulas) and Sara (Terri Hanauer), the Striebers head for their cabin in Upstate New York. In the middle of the night, an illumination descends on the cabin and surrounding forest, causing Strieber to wake up abruptly. In the semi-darkness of the cabin, he is able to make out a long face with narrow, tear-shaped eyes quietly observing him from a corner of the room. The next morning, he has forgotten -- or been made to forget -- the whole experience. He even shrugs off Alex's and Sarah's concern about "seeing lights" outside their bedroom window, claiming to have slept through the event. Back in New York, it becomes evident to Strieber and his family that something unusual did happen. He begins to have powerful hallucinations, and, after an inconclusive medical examination, he is encouraged by his wife to seek professional help from psychiatrist Janet Duffy (Frances Sternhagen). During hypnotic regression therapy, Strieber's lifelong contact with the "visitors" is brought to light, as well as the details of his more recent encounters. Still unable to accept these revelations, he returns to the cabin alone and finally communicates with the visitors, discovering that, although they are unable to reveal their true identity, their purpose may be to act as agents of personal transformation for himself and for others. An interesting and uneven film, Communion is bolstered considerably by Christopher Walken, whose role in the film, though appropriate for the subject matter, quickly transforms into a thesis on his own eccentricities as an actor. ~ Anthony Reed, Rovi