Lou Hirsch Movies

Directed by Jonathan Frakes and based on the '60s British television series of the same name, Thunderbirds chronicles the intergalactic exploits of the Tracy family. Set in 2010, the world looks toward the mysterious Tracy Island when mere international security is not enough; the remote South Pacific island not only houses former astronaut and lifelong entrepreneur Jeff Tracy (Bill Paxton) and his five sons, but also serves as headquarters for the top-secret International Rescue organization. The unthinkable happens, however, when an insidious criminal mastermind known only as "The Hood" (Ben Kingsley) manages to get past the island's innumerable security measures and attempts to take over International Rescue. His goal: stealing the organization's five most advanced rescue vehicles, each of which was designed to accomplish a specific task, and using them for his own agenda. With Jeff and his four eldest sons deployed on a mission, there's only one person with any hope of stopping the takeover -- Jeff's youngest son, Alan (Brady Corbet), who vows to save his family and keep the Thunderbirds alive. ~ Tracie Cooper, Rovi

This seven-minute short cartoon, released with Honey, I Shrunk the Kids, is the first animated short put out by Disney studios since 1965. It features the ever-ebullient Roger Rabbit of Who Framed Roger Rabbit fame. Here, he is teamed with Baby Herman, who must be rushed to the hospital after swallowing a rattle. The ever-seductive Jessica Rabbit (voice by Kathleen Turner) also puts in an appearance. While there is nothing in this cartoon that is unsuitable for children, it contains enough savvy wit to keep adult viewers' attention. ~ Clarke Fountain, Rovi

In Robert Zemeckis's trailblazing combination of animation and live-action, Hollywood's 1940s cartoon stars are a subjugated minority, living in the ghettolike "Toontown" where their movements are sharply monitored by the human power establishment. The Toons are permitted to perform in a Cotton Club-style nightspot but are forbidden to patronize the joint. One of Toontown's leading citizens, whacked-out Roger Rabbit, is framed for the murder of human nightclub owner Marvin Acme (Stubby Kaye). Private detective Eddie Valiant (Bob Hoskins), whose prejudice against Toons stems from the time that his brother was killed by a falling cartoon piano, reluctantly agrees to clear Roger of the accusation. Most of the sociopolitical undertones of the original novel were weeded out out of the 1988 film version, with emphasis shifted to its basic "evil land developer" plotline --and, more enjoyably, to a stream of eye-popping special effects. With the combined facilities of animator Richard Williams, Disney, Warner Bros., Steven Spielberg's Amblin Entertainment, and George Lucas's Industrial Light and Magic, the film allows us to believe (at least for 90 minutes) that "toons" exist, and that they are capable of interacting with 3-dimensional human beings. Virtually every major cartoon character of the late 1940s shows up, with the exceptions of Felix the Cat and Popeye the Sailor, whose licensees couldn't come to terms with the producers. Of the film's newly minted Toons, the most memorable is Roger Rabbit's curvaceous bride Jessica (voiced, uncredited, by Kathleen Turner). The human element is well-represented by Hoskins, Christopher Lloyd, and Joanna Cassidy; also watch for action-film producer Joel Silver as Roger Rabbit's Tex Avery-style director. ~ Hal Erickson, Rovi

Gene Wilder directed and wrote (along with Terence Marsh) this mild farce which is a pale reminder of Wilder's glory days in Mel Brooks' Young Frankenstein. Wilder plays ham radio actor Larry Abbot, who takes his fiancee Vickie Pearle (Gilda Radner) out to meet his relations on a gloomy country estate before they are married. The creepy clan is lorded over by the bizarre Aunt Kate (Dom DeLuise), who keeps babbling about a local rampaging werewolf. As Larry and Vickie try to spend a quiet weekend in the mansion, they are assaulted with all manners of spooky goings-on -- the kind of routines that were already growing whiskers when Abbott and Costello first dusted them off over fifty years ago. ~ Paul Brenner, Rovi

The marriage of John Lennon and Yoko Ono is fodder for this television biography, which covers the couple's relationship from Lennon's days as a Beatle in 1966 to his 1980 murder on the streets of New York City. ~ Jason Ankeny, Rovi

In a major departure from the tone of the preceding two Superman adventure films, this mix of vile deeds and fantasy heroics drops the "S" out of cosmic and goes for comic instead. Right at the starting gate, Gus Gorman (Richard Pryor) and a subsequent slapstick sequence upstage (Christopher Reeves again), who later develops an identity crisis. Gorman, newly trained as a computer whiz, starts working for a conglomerate run by the corporate nemesis Ross Webster (Robert Vaughn), intent on world domination. Gorman is sent to Superman's small town of Smallville to wipe out Columbia's coffee crop by fiddling with the computer side of a weather satellite. Clark Kent is in town for his class reunion, leading Superman to clash with Gorman, which in turn, leads Gorman to develop a hybrid red Kryptonite. Unwittingly, since Gorman's wits are always in doubt, the Red Kryptonite causes Superman to split into a Dr. Jekyll and Mr. Hyde schizophrenia -- but in two separate bodies. As the evil Superman swaggers around town, megalomaniac Ross Webster has other tricks in mind -- and in one of the more memorable action scenes (interspersed with a video game sequence), Superman is chased through the Grand Canyon by a fast-flying, very determined missile. Lana Lang (Annette O'Toole) is on hand for romantic interest (Margot Kidder only appears briefly -- she was growing tired of Lois Lane). ~ Eleanor Mannikka, Rovi

Created by David Butler, the British drama series We'll Meet Again took place during WWII. The members of the U.S. 8th Air Force, 525th Bomb Group, found themselves billeted in the Suffolk community of Market Wetherby. The locals weren't altogether thrilled by the presence of the "overpaid, oversexed, and over-here" Yanks, but along the way a few of the flyboys managed to make headway with some of the British lasses in the region. Rich with period detail, the series invoked warm nostalgic feelings within most viewers, even though much of the dialogue dealt with rationing, buzz-bombing, and other wartime iniquities. Opening with a 90-minute episode on February 19, 1982, We'll Meet Again quickly settled into a weekly 60-minute slot, proving so popular with British viewers that its story line was serialized in a national newspaper. The 13th and final episode aired on May 14, 1982. ~ Hal Erickson, Rovi