Peggy Gormley Movies

An overly critical father gets a unique opportunity to reconnect with his estranged son, if he can only embrace the music that once divided them in this uplifting family drama inspired by Dr. Oliver Sacks' case study "The Last Hippie." Forbidden by his conservative engineer father, Henry (J.K. Simmons), from attending a Grateful Dead concert back in 1967, Gabriel Sawyer (Lou Taylor Pucci) packs his bags and runs away from home. Twenty years later, Henry and his wife, Helen (Cara Seymour), receive word that Gabriel has been diagnosed with a benign brain tumor that requires delicate surgery to remove. Though the operation is successful, Henry and Helen soon learn that the part of their son's brain responsible for creating memories has been damaged by the long-neglected tumor, and that as a result, Gabriel will find it difficult to distinguish the past from the present. As communication grows increasingly difficult, frustrated father Henry becomes staunchly determined to make up for lost time by forming a solid father-son bond with Gabriel, and begins researching treatment for brain injuries. It isn't long before Henry's inquiries lead him to music therapist Dr. Dianne Daly (Julia Ormond), whose innovative methods have yielded impressive results in the past. When Dr. Daily exposes Gabriel to the rock & roll music that he loved as a youth, something incredible begins to happen: Gabriel finally finds the words to express himself, and he regains the ability to have meaningful conversations. As his own health begins to take a turn for the worse, Henry determines to let go of his loathing for the music that has awakened his son's consciousness, and embrace the joy of loving the child he once drove away. ~ Jason Buchanan, Rovi

Nine lovelorn and lonely strangers struggle to break free from the past to find the companionship they crave in this episodic relationship drama featuring Gerard Butler, Eva Mendes, Stellan Skarsgard, and Anna Faris. ~ Jason Buchanan, Rovi

Two women connected by family are drawn closer by fate in this low-key drama. Frances (Jacqueline Bisset) is a woman in her early fifties who had already begun to sense time was running out for her when she learned that she has cancer. While Frances is fighting the disease through medical treatment, she decides it's a good idea to do some travelling before it's too late, and she pays a visit to Bob (Seymour Cassel), a former boyfriend who now owns a farm in rural Pennsylvania. To Bob's surprise, Frances strikes up a fast friendship with his wife Betty (Peggy Gormley), and Frances shares a confession with her -- while Frances maintains a close relationship with her son Morgan (Nick Stahl), she also had a daughter by Bob that she put up for adoption, and she's not certain if she should track down the child while there's still time. Coincidentally, Frances' daughter is Rebecca (Martha Plimpton), a successful lawyer who has begun to express a curiosity about her birth parents. Rebecca has been hired by a large communications firm to deal with the paperwork regarding the purchase of a radio station in Florida, and while in the Sunshine State, Rebecca gets to know the station's manager, Jimmy (Frankie R. Faison). As Jimmy and Rebecca ease into a short-term romance, he shares stories about the "Sleepy Time Gal," a mysterious female disc jockey who worked at the station back in the '50s; what neither Jimmy nor Rebecca know is that the Sleepy Time Gal was actually Frances. ~ Mark Deming, Rovi

A Brooklyn cigar shop is the setting for this drama from director Wayne Wang that interweaves the stories of several characters that have fractured family relationships in common. Harvey Keitel is Auggie Wren, poetic owner of the Brooklyn Cigar Company, a store that he considers the center of the world -- a place where all of humanity eventually parades through. One of his regular customers is Paul Benjamin (William Hurt), a writer and a broken shell of a man whose pregnant wife was shot and killed near the store. When Paul's life is saved one day by a young black man named Rashid (Harold Perrineau, Jr., the writer and his rescuer strike up a friendship and begin searching for Rashid's long-lost father (Forest Whitaker). At the store, Auggie is surprised by the appearance of Ruby (Stockard Channing), an ex-girlfriend who informs him that her pregnant, drug-addicted daughter Felicity (Ashley Judd) may also be his -- and is in dire need of help. Screenwriter Paul Auster based the script for Smoke on a 1990 short story he wrote for "The New York Times." He also wrote and directed the film's sequel (of sorts), Blue in the Face (1995). ~ Karl Williams, Rovi

The subject of this urban comedy could be "Two-timing men, and the women that despise them" as it presents the scathing opinions of women observing an adulterous misogynist in action. The adulterer in question is Scott who swears fealty to his beloved fiance, but then goes out and chases anything with ovaries when she is not around. He is cheered on by his equally misogynistic uncle. Scott's many sexploits are interrupted by female observers, who offer their commentary upon his actions. Their comments upon Scott can apply to adulterers everywhere. ~ Sandra Brennan, Rovi

When an African-American honors student is found murdered, detectives Logan (Chris Noth) and Briscoe (Jerry Orbach) dig up evidence that the dead girl was stealing from her family to support a drug habit. The number-one suspect is the girl's sleazy crack-dealing boyfriend, but for reasons that defy explanation, he will not plea-bargain with the D.A.'s office. Meanwhile, the search goes on for the missing murder weapon -- or has it been deliberately hidden by a hitherto unsuspected party? ~ Hal Erickson, Rovi

Willem Dafoe plays Jesus Christ in this extraordinarily controversial adaptation of Nikos Kazantzakis's novel. The film depicts a sometimes reluctant, self-doubting Jesus, gradually coming to accept His divinity and the inexorability of His ultimate fate. The much-maligned sex scene with Mary Magdalene (Barbara Hershey) occurs as an hallucination experienced by Jesus as he suffers on the cross. This particular sequence was what infuriated the film's most rabid critics, but in fact it is just one of many iconoclastic musings to be found in the film and its source novel. Equally volatile are the intimations that, as a carpenter, Jesus indifferently shaped the crucifixes for other condemned prisoners long before his own fate was sealed, and that Judas (Harvey Keitel) was literally manipulated into betrayal by a Christ whose preoccuption with his own destiny compelled him to "use" others. None of these departures from the normal interpretation of the scriptures are offered as any more than theory; as such, it was accepted as food for thought by the more open-minded clerics and Biblical scholars who recommended the film. ~ Hal Erickson, Rovi