Lara Harris Movies

The traditional horror anthology makes a triumphant comeback in this collection of four frightfully horrific tales from directors Monte Hellman, Ken Russell, Sean S. Cunningham, John Gaeta, and Joe Dante. When seven strangers accept a mysterious invitation to tour a Hollywood studio lot, they become trapped in a room and discover that their only hope for escape is to reveal the most terrifying tale they know. ~ Jason Buchanan, Rovi

A woman negotiates the tricky etiquette of celebrating the wedding of her former girlfriend in this independent comedy. April (Maria Cina) and Alex (Trish Doolan) are close friends who have something of a past together -- both are lesbians, and they were lovers for several years. Alex is still attracted to April, but April has moved on -- so much so that April one day announces that she's going to marry Pauly (Randall Batinkoff), a pleasant but dull man who was introduced to April by her mother (Molly Cheek). Understandably, Alex is a bit taken aback when April asks her to be her maid of honor, but for the sake of their friendship she accepts. However, things get a bit frazzled when Alex has to put together a bridal shower for the woman she still loves. April's Shower was the first feature film from writer and director Trish Doolan, who also plays Alex. ~ Mark Deming, Rovi

Former Hal Hartley collaborator Adrienne Shelly directs her second feature about a blind date gone horribly horribly awry. Still thoroughly depressed after his girlfriend dumped him three months ago, Bill (Reg Rogers) is coerced by his sister (Shelly) into going on a blind date with Bernice (Ally Sheedy). Bill is immediately underwhelmed by his cheerless date, and as the night grinds on, he bluntly tells her what he thinks. Instead of ending things, Bernice becomes obsessed with the man, telling him at one point that since the date, he has "taken something away." After trying more standard means to worm her way into his life, she takes drastic action; she pulls a gun on Bill and ushers him to her vintage Mercury. Soon Bill finds himself the unwilling accomplice to Bernice's serial gunpoint robberies of boutiques. Meanwhile, she lambastes him for not being adequately respectful. Before long, Bill finds himself in upstate New York and out of his rut. I'll Take You There was screened at the 1999 Telluride Film Festival. ~ Jonathan Crow, Rovi

Here's something new in the annals of made-for-cable movies: a dysfunctional family of three in outer space. Coming across a derelict spaceship, Foster Carver (Corbin Bernsen), his wife, Katrina (Lara Harris), and their daughter, Amy (Brittany Ashton Holmes), rescue the vessel's sole survivor, a handsome fellow named Adam (Richard Grieco). It soon develops that everyone else on the derelict ship has been murdered, and that Adam is an android who has been programmed without morals or conscience -- as proven when Adam brazenly sets about to seduce Katrina and wipe out the rest of her family. An extraterrestrial variation on the old theatrical feature Dead Calm, Inhumanoid originally aired July 23, 1996, as part of the Showtime channel's "Roger Corman Presents" series. ~ Hal Erickson, Rovi

This variation on the themes of 9 to 5 (1980) and Tie Me Up! Tie Me Down! (1990) presents one philandering man as the target of revenge for all scorned women everywhere. When Brian Hartley (Zach Galligan) has been unfaithful yet again to his fiancée Linda Alissio (Teri Hatcher), he shows up at her Malibu beach house expecting to beg for and receive forgiveness. Except that this time, Brian is going to get the lesson of his life. Lisa's housemates Kim (Lara Harris) and Sharon (Tracy Griffith) take him hostage, tying him to a bed. For three days, the trio of vengeful women inflict Brian with a series of psychological tortures, including using his credit cards, shaving him with a rusty razor, getting him fired from his job, and forcing him to watch a home shopping cable channel. When they're convinced that Brian will sin no more, they put him in a skirt and release him. Brian's got a few surprises for them, however. ~ Karl Williams, Rovi

The plot of this action film begins in 1996, with Los Angeles in a violence-crazed conflagration. One of the LAPD's most notorious cops, John Spartan (Sylvester Stallone), known as "the demolition man," is in hot pursuit of blonde-haired psychopath Simon Phoenix (Wesley Snipes), who is so nasty he even kills sometimes just because he feels cranky. John captures Simon, but not before Simon kills innocent hostages. John is blamed for the deaths of the hostages, and both he and Simon are cryogenically frozen to remove their brand of ultra-violence from a society that is simply just too violent. The film shifts to the future world of 2032, where Los Angeles has become a megalopolis called San Angeles. There is no poverty, Arnold Schwarzenegger was (at one time) president of the United States, and Taco Bell is the sole survivor of the Franchise Wars. Into this peaceful and bland society, Simon is summarily defrosted by reigning benevolent dictator Dr. Cocteau (Nigel Hawthorne) to have Simon murder Edgar Friendly (Denis Leary), the leader of a group of underground rebels. But Cocteau bites off more than he can chew when the melted-down Simon proceeds to go on a murder-and-looting spree. Reluctantly, Cocteau defrosts John to hunt down his old adversary. As John adjusts to self-driving cars and having sex wearing helmets, he pairs up with Lenina Huxley (Sandra Bullock), a bored cop with a nostalgic fascination for 20th-century culture. ~ Paul Brenner, Rovi

Terry Gilliam directed this adaptation of Richard LaGravenese's mystical (and mythical) tale of redemption in the hard-time town of New York City. Jeff Bridges is shock radio DJ Jack Lucas, whose low opinion of humanity lends itself well to his radio talk show, where the enmity rubs off on his listeners. One fan in particular takes Jack's rants to heart and goes to a fancy restaurant with a gun, murdering innocent diners. Jack is so distraught at what his on-air suggestion wrought that he sinks into a three-year depression, drinking himself to sleep and mooching off of his girlfriend Anne Napolitano (Mercedes Ruehl, in an Oscar-winning performance), an attractive owner of a video store. Hitting bottom, Jack slumps to the river, prepared to commit suicide. To his rescue comes a crazed but witty homeless man named Parry (Robin Williams), who tells Jack he's destined for great things -- all his has to do is find the Holy Grail (conveniently located in mid-town Manhattan) and save Parry's soul. He also wants Jack to help him out with the woman of his dreams, Lydia Sinclair (Amanda Plummer), a shy type who works at a publishing company. Parry was once a university professor became unglued by a tragic event in his past; Jack soon realizes that to save himself, he first must save Parry. ~ Paul Brenner, Rovi

The Fourth War finds director John Frankenheimer delving into the same Cold-war territory he'd previously cultivated in films like The Manchurian Candidate. Col. Jack Knowles (Roy Scheider), serving at a faraway post on the German-Czech border, carries on a personal war with his Soviet counterpart, Colonel Valachev (Jurgen Prochnow). Both have been hardened by past combat experiences, and both have been embittered by the exigencies of red tape, bureaucracy, and diplomatic deal-making. Their friendly rivalry snowballs (literally so!) into a guerilla-like combat situation, culminating in a one-on-one showdown. It's essentially a shaggy dog story, but a compelling one. Based on a novel by Stephen Peters, The Fourth War was given surprisingly short shrift by Cannon Films' distribution channels. ~ Hal Erickson, Rovi

In Mannequin, a lame attempt to revive the style and panache of fantasy-tinged romantic comedies of the '30s and '40s, Andrew McCarthy stars as a department store window-dresser who discovers that one of his mannequins (Kim Cattrall) is actually a woman from ancient Egypt when she becomes animated one evening. She then inspires him to become the most expressive window-dresser the business has ever seen. Of course, there is intrigue involving a rival department store's attempt to drive the good guys out of business, and together the two store-crossed lovers must combat the forces of evil to save the day. There is no real mystery about what will happen in the course of the film; it all seems color-by-numbers. The only thing unique about Mannequin is its uniquely bad and illogical script, which has holes larger than the Grand Canyon. Mannequin was a surprise box-office hit, earning nearly 25 million dollars in just under a month of its release -- no small feat considering its miniscule budget and seeming lack of appeal to any particular demographic. It spawned an inferior sequel, Mannequin Two: On the Move, reaffirming the belief that anything is possible. In spite of being panned by critics across the board, it did manage to receive one accolade -- its theme, "Nothing's Gonna Stop Us Now," was nominated by the Academy for Best Song. ~ Jeremy Beday, Rovi

John Schlesinger directed this fact-based drama - adapted from Robert Lindsay's bestseller of the same title -- about two Californians, friends since boyhood, who are caught selling government secrets to the Soviet Union. Christopher Boyce (Timothy Hutton) is an all-American boy, studying for the priesthood in a seminary. But Boyce decides to drop out of school, and with the help of his father (Pat Hingle), a FBI agent, he gets a job working for the CIA in a message-routing center. While reading the messages, Boyce is shocked to learn that the CIA is involved in fixing Australian elections. Watching the Watergate hearings on television, he feels an ever-mounting sense of outrage at the arrogance of the U.S. government and decides to do something about it. Deciding to supply the CIA messages to the Russians, he enlists his childhood friend Daulton Lee (Sean Penn) to help him. Lee is to deliver the CIA secrets to a Russian operative (David Suchet) at the Soviet Embassy in Mexico City. But Lee is an unreliable drug dealer, and his sloppy spy trail leads the two old friends into more trouble than they bargained for. ~ Paul Brenner, Rovi