Lynne Griffin Movies

A successful New York writer (Daniel Craig) discovers that the country holds just as much menace as the big city after moving his family to a cozy New England town and discovering that their gorgeous new home was once the site of a brutal murder. The closer the writer and his wife (Rachel Weisz) get to their new neighbor (Naomi Watts), the more that details begin to emerge about the slaying of a devoted mother and her two children. Jim Sheridan (In America, Brothers) directs a script by David Loucka (The Dream Team, Problem Child). ~ Jason Buchanan, Rovi

The true story of one of the most contentious labor disputes of the 1970s is the basis for this made-for-cable drama. In 1973, many of the men of Harlan County, Kentucky, were employed by Brookside Mining, who operated a number of coal mines. Brookside paid its employees meager wages for dangerous, backbreaking work, and also controlled housing and retail sales in the area, boarding its workers in shacks without central heating or indoor plumbing, and selling them food and clothing at inflated prices. Warren Jakopovich (Stellan Skarsgard), an organizer for the United Mine Workers Association, encouraged Brookside's workers to join the union and go on strike for fair wages and better working conditions. Many of the miners simply couldn't afford the loss of income that a strike would mean, but when two workers died as a result of Brookside's willful ignorance of safety standards, most of Harlan County's mine workers finally went on strike. A judge formerly employed by Brookside handed down an order forbidding the workers to picket the mine sites, but Ruby Kincaid (Holly Hunter), whose husband Silas (Ted Levine) was fired for protesting dangerous conditions and whose father was attacked by scab laborers, organized the wives of striking miners to picket in their place. The Harlan County War was based on the same strike portrayed in the Academy Award-winning documentary Harlan County, USA. ~ Mark Deming, Rovi

Charles Lane directed Andy Breckman's script, based on an old "Saturday Night Live" sketch of Breckman's that featured Eddie Murphy. Comic Lenny Henry takes Murphy's place in True Identity as a black man forced to don white face in order to save his life. Henry plays Miles Pope, an agreeable British actor whose luck sours when he finds out that businessman Leland Carver (Frank Langella) is actually a notorious underworld mobster. Carver now wants to rub Miles out and the only way that Miles can escape Carver's retribution is to disguise himself as a man named Frank LaMotta, the Italian-American killer that Carver has hired to kill him. During the story, Miles finds that he has to assume a variety of roles to keep from getting shot --a gay real estate agent, a British lord, James Brown's brother Val, and even Othello. But the biggest shock for Miles comes when he plays the white man and discovers that he is given preferential treatment --not only by whites, but also by blacks and Hispanics. ~ Paul Brenner, Rovi

Ever since the "Topper" movies made ghosts likeable and helpful, films like The Heavenly Kid have taken up the theme with varying degrees of success. In this version of life after death, Bobby (Lewis Smith) is a teen who dies in a drag race as he goes over a cliff. He then enters a curious "mass transit" system that will not take him "uptown" until he returns back to earth and gains a little more virtue. And so Bobby is assigned the thankless task of converting Lenny (Jason Gedrick) into a self-confident individual who can date women without fear (not exactly on a par with bringing peace to the world, but this is a teen movie). There are some twists and turns along the way, though nothing shakes up the status quo or ventures beyond the already imagined. ~ Eleanor Mannikka, Rovi

Purporting to be loosely based on Hamlet, Strange Brew is about an evil braumeister at the Elsinore Brewery who has discovered an additive that when guzzled in beer, allows the drinkers to be easily controlled. Braumeister Smith (Max von Sydow) has a plan to take over the world with his new brew, and only the Great White hosers of the North, Bob and Doug McKenzie (Rick Moranis and Dave Thomas) -- with their plaid shirts, ski toques, fur-lined parkas, and addiction to beer -- can stop the dastardly plan, sober or not. There are several jabs at "hoseheads" and the business of movie-making, including an epilogue that critiques the film itself. Strange Brew found a cult audience with fans of the Second City comedy troupe, of which Moranis and Thomas were members. ~ Eleanor Mannikka, Rovi

Mr. Patman is well liked and has charm to spare. He works as an orderly in a mental hospital and does a good job except that he is beginning to believe that he is being shadowed by the irate husband of his landlady. When not bunking with her, Mr. Patman attempts to launch an affair with a co-worker until he mistakenly begins believing she has died in an auto accident. As the film progresses, it doesn't take long for the audience to realize that the normal-seeming Patman is just as ill as the patients he tends to and by the story's end is no longer to conceal it and must be admitted into the hospital himself. ~ Sandra Brennan, Rovi

Although this Canadian production saw its widest U.S. cable TV distribution in the early '80s (primarily under the title Stranger in the House) to capitalize on the phenomenal success of Halloween and its offspring, this effective suspense-thriller actually predates John Carpenter's film by four years. The story involves a dangerous psychopath hiding out in the attic of a sorority house who torments a small group of pretty young sisters (including Olivia Hussey and Margot Kidder) who are staying behind over Christmas break. His tactics range from making obscene phone calls from their house-mother's phone, to stalking the terrified boarders with sharp objects and murderous intent. Director Bob Clark, who mistook dreariness for tension in his previous horror effort Children Shouldn't Play With Dead Things! (1972), here demonstrates a tight, aggressive style that generates some very original shocks -- particularly the surprise ending -- which clearly influenced dozens of similarly-themed slasher films to follow. ~ Cavett Binion, Rovi