Jared Harris Movies

This $90 million science fiction adventure is adapted from the television series, created by Irwin Allen, which originally ran on CBS from 1965 to 1968. The original series employed a Swiss Family Robinson in outer space premise; sent to colonize a planet in the Alpha Centauri system, the Robinson family was thrown off course by a stowaway and was left wandering from planet to planet (and changing along the way from a black-and-white series to a color series). The 1998 remake is set in the year 2058, when the United Global Space Force sends Professor John Robinson (William Hurt) and family -- wife Maureen (Mimi Rogers), daughter Judy (Heather Graham), teen Penny (Lacey Chabert), and 10-year-old Will (Jack Johnson) -- on a promotional space jaunt to herald the "offshore" future for the human race (now saddled with eco problems on Earth). Major Don West (Matt LeBlanc), more accustomed to fighting menacing Global Sedition forces, is reluctant to sign on as the Jupiter II pilot but quickly changes his mind after he gets a good look at Judy in her fetish-fashioned space togs. Space spy Dr. Smith (Gary Oldman), hired to sabotage the mission, programs in problems but winds up aboard the craft unconscious. Once awake, he summons the Robinsons from suspended animation, and they save the ship just in time, passing through hyperspace to arrive near an Earth ship where they encounter space-pet Blawp and hordes of teethy spiders. A spider bite makes the villainous Smith mutate, one of some 750 special effects, from animatronics (Jim Henson Creature Shop) to CGI, and other adventures await throughout the galaxy. Cameos include actors from the original series, including June Lockhart and Robot Voice Dick Tufeld. In a curious coincidence, the TV series took place in the future of 1997, the year this movie was produced. ~ Bhob Stewart, Rovi

In this witty romantic thriller, Alan (Jared Harris) is a London schoolteacher who leads a quiet, mildly stuffy life. As a hobby, he serves as a jazz disc jockey, spinning tunes for a hospital's public address system, but he craves danger and excitement. One night, Alan stops into a bar for a drink and sees Beatrice (Asia Argento), a beautiful woman who is arguing with two men. Alan is immediately enraptured by Beatrice and begins to pursue her. What Alan doesn't know is that Beatrice is an infamous thief known to the police as "B. Monkey" (named for her ability to break into anything), and the men she was quarreling with were Paul (Rupert Everett) and Bruno (Jonathan Rhys Meyers), a gay couple who are her partners in crime. When Alan becomes aware of Beatrice's secret, he tries to lead her into a safer and more honest way of life, even as she lures him into the thrilling existence he's been dreaming of. Leading lady Asia Argento is the daughter of Italian horror auteur Dario Argento. ~ Mark Deming, Rovi

After his 1995 breakthrough, Welcome to the Dollhouse, director Todd Solondz was courted by a number of studios to make a big-budget film with top stars. Instead, he chose to make this aggressively dark comedy-drama of perversions and twisted lives. Andy Kornbluth (Jon Lovitz) explodes with anger after rejection in a restaurant from Joy Jordan (Jane Adams), one of a trio of middle-class New Jersey sisters. Joy's sister Trish (Cynthia Stevenson), a housewife with three kids, is married to psychiatrist Bill (Dylan Baker), who counsels the lonely, overweight Allen (Philip Seymour Hoffman). Allen is obsessed with Joy's other sister, the successful poet Helen (Lara Flynn Boyle), all the while ignoring the attentions of his seemingly sweet yet overweight neighbor Kristina (Camryn Manheim). Bill has fantasies of turning an assault rifle on families in a park, masturbates to teen magazine photos, and develops an unhealthy interest in a classmate of his 11-year-old son, Billy (Rufus Read). After a telephone sales job, Joy moves on to substitute teach at an adult education class, where she falls prey to the advances of an insensitive cabdriver, Vlad (Jared Harris). Allen's series of obscene phone calls to Helen come to an end when she challenges him to come next door and carry out his sexual threats. Meanwhile, the sisters' parents, Lenny and Mona Jordan (Ben Gazzara and Louise Lasser), find their marriage collapsing after 40 years. Lenny has sparked the interest of divorcée Diane Freed (Elizabeth Ashley), but he actually would prefer to be alone. The path to happiness, it seems, is littered with dreams, despair, and abnormalities. Winner of the International Critics' prize at the 1998 Cannes Film Festival, Happiness met with much controversy both in pre-production and upon its release, as chronicled in producer Christine Vachon's book Shooting to Kill. ~ Bhob Stewart, Rovi

Writer-director Jonathan Nossiter's first feature film is a moody exploration of assaults upon, and shifts in, personal identity. The movie's action all takes place on a Sunday in a poor section of the New York City borough of Queens. Oliver (David Suchet) is a newly homeless middle-aged man who was downsized out of his job as a mid-level functionary at a computer corporation and lost his wife and family because of his employment troubles. Out walking in the borough, Oliver collides with Madeleine Vesey (Lisa Harrow), an out-of-work British actress who is in the process of breaking up with her American husband, Ben (Larry Pine). Madeleine mistakes Oliver for Matthew Delacorta, a famous film director, and Oliver goes along with the mistake, hoping that it will help him to escape his misery. Madeleine hopes that she can make an impression that will land her a film role, so she invites her new friend up to her apartment. When Oliver tells her his life story, she mistakes it for an invented movie plot because Madeleine lives her life in a fantasy world, pretending reality is a film. After the two lost souls have sex without emotion, Ben shows up. He tells Oliver that his recent open-heart surgery wounds were caused by a knife attack from Madeleine. Oliver leaves as the estranged couple argues, but he returns to retrieve his precious winter coat, and he becomes further entangled in the fantasy of a new identity. Sunday won the Grand Jury prize at the 1997 Sundance Film Festival. ~ Michael Betzold, Rovi

The true story of Valerie Solanas, the radical feminist who became notorious after shooting art world icon Andy Warhol, is portrayed in this fact-based drama. In an attempt to present a fair assessment of her actions, writer-director Mary Harron focuses on Solanas' troubled life, from her childhood as an abuse victim to her life as teenage prostitute in New York City. These experiences left Solanas (played by Lili Taylor) deeply scarred, contributing to a hatred of men that later found full flower in her famous "SCUM Manifesto," an extremist tract calling for the establishment of a "Society for Cutting Up Men." Deeply troubled, she nevertheless briefly finds hope after befriending young transvestite Candy Darling (played by Stephen Dorff) and discovering herself on the fringes of the wild, colorful world surrounding the eccentric Warhol. She becomes obsessed with the idea that Warhol's support could change her life, only to become violently enraged when the artist and his friends begin to turn away from her. ~ Judd Blaise, Rovi

Director Wayne Wang and screenwriter Paul Auster had enough storylines and characters left over from their charming comedy Smoke to make another film, so they shot Blue In The Face immediately after Smoke was completed. The film once again centers on the Brooklyn Cigar Store and manager Auggie (Harvey Keitel), although most of the other characters are different. The store owner's frustrated wife Dot (Roseanne) is one of them, and one of the plotlines follows her attempts to seduce Auggie. Madonna, Michael J. Fox, Lily Tomlin, and Lou Reed (as himself) also put in appearances. Blue In The Face was shot without a complete script and presents a unique combination of distinctive performances, oddball characters, improvisations, and raffish scenes. ~ Don Kaye, Rovi

This stylish combination of expressionistic horror and deadpan black comedy centers on the activities of a beautiful female vampire on the streets of New York City. Playing fast and loose with the Dracula legend, the film examines the legendary count's children, particularly the alluring and mysterious Nadja (Elina Lowensohn). At the film's beginning, Nadja is celebrating her father's demise and hoping to begin a new life. She hopes that this life will include Lucy (Galaxy Craze), a spunky young woman that she seduces after an encounter in a New York bar. Unfortunately, Lucy is already married, to the nephew of eccentric vampire hunter Van Helsing (Peter Fonda), who disposed of Nadja's father and has now set his sights on capturing the daughter. Matters are further complicated when Nadja's brother Edgar (Jared Harris), a vampire who wishes to give up his blood-sucking nature, also becomes involved. Gorgeously shot by cinematographer Jim Denault in a mixture of 35mm black-and-white and low-budget Pixelvision video, the film resembles a combination of the surrealist visions of co-producer David Lynch and the quirky humor and stylized sensibility of Hal Hartley. The convoluted narrative sometimes fails to gel, and the self-conscious, arty approach will not appeal to audiences looking for conventional thrills, but those with a taste for the unusual may find the film an appealing contemporary spin on a familiar legend. ~ Judd Blaise, Rovi

A frenetic, bloody look at mass murder and the mass media, director Oliver Stone's extremely controversial film divided critics and audiences with its mixture of over-the-top violence and bitter cultural satire. At the center of the film, written by Stone and Quentin Tarantino, among others, are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), a young couple united by their desire for each other and their common love of violence. Together, they embark on a record-breaking, exceptionally gory killing spree that captivates the sensation-hungry tabloid media. Their fame is ensured by one newsman, Wayne Gale (Robert Downey, Jr.), who reports on Mickey and Mallory for his show, American Maniacs. Even the duo's eventual capture by the police only increases their notoriety, as Gale develops a plan for a Super Bowl Sunday interview that Mickey and Mallory twist to their own advantage. Visually overwhelming, Robert Richardson's hyperkinetic cinematography switches between documentary-style black-and-white, surveillance video, garishly colored psychedelia, and even animation in a rapid-fire fashion that mirrors the psychosis of the killers and the media-saturated culture that makes them popular heroes. The film's extreme violence -- numerous edits were required to win an R rating -- became a subject of debate, as some critics asserted that the film irresponsibly glorified its murderers and blamed the filmmakers for potentially inciting copy-cat killings. Defenders argued that the film attacks media obsession with violence and satirizes a sensationalistic, celebrity-obsessed society. Certain to provoke discussion, Natural Born Killers will thoroughly alienate many viewers with its shock tactics, chaotic approach, and disturbing subject matter, while others will value the combination of technical virtuosity and dark commentary on the modern American landscape. ~ Judd Blaise, Rovi

In this epic Ron Howard film, Joseph Donelly (Tom Cruise) is an impoverished 19th-century Irish tenant farmer who has recently lost both his father and his home to the agents of his unscrupulous landlord. On a mission to avenge his family's injustice at the hands of the ruthless land baron Joseph meets the landlord's daughter and the two run off to America together where the girl expects to claim a piece of land for herself in the Oklahoma Land Rush. After she is robbed on the boat that carries them to America, they arrive with nary a penny and struggle just to keep their heads above water in the slums of Boston. After a series of serious set-backs they do eventually work their way out West, where Joseph must fight to realize his dream and claim a piece of the American Dream for himself -- and where they finally acknowledge their love for each other. Shot in wide-screen Panavision, the movie was filmed on-location in Ireland and Montana. ~ Iotis Erlewine, Rovi

Women and Men 2 is the second installment of HBO's short-story anthology series. In the first episode, Carson McCuller's "A Domestic Dilemma," Ray Liotta plays a husband who has to cut back on his work in order to care for his children, since his alcoholic wife (Andie MacDowell) cannot be trusted. In Irwin Shaw's "Return to Kansas City," a boxer (Matt Dillon) is unwilling to take risks in order to win love. In Henry Miller's "Mara," Scott Glenn plays Miller in a story about his love for a Parisian prostitute. ~ Stephen Thomas Erlewine, Rovi