Angela Jones Movies

A young boy grieving the loss of his grandmother struggles with his new live-in tutor in this period-family drama from director Sally Champlin. Trapped in an endless cycle of depression following the death of his grandmother, Brian (Tim Redwine)'s has retreated into a silent world of sadness and ennui. When Brian's parents hire an amiable young widow named Mary (Angela Jones) as a live-in tutor in one final bid to keep their son out of the military academy, the troubled young boy lashes out and refuses to accept his new teacher. Determined to break through Bryan's monolithic emotional barriers, Mary reaches out and directs all of her efforts to saving her young charge from falling into a deep depression from which he may never fully recover. ~ Jason Buchanan, Rovi

Randolph Kret wrote and directed this subculture drama exploring skinhead gangs. The gang-rape of Sam (Elexa Williams) triggers her suicide. Her boyfriend Steve (Damon Jones) finds the legal system inadequate, so he plots revenge by infiltrating the gang. To gain entrance, however, he must embrace the very attitudes he despises. Once inside, he gains a better understanding of the factors behind the neo-Nazi movement, but eventually he's put on the spot and must choose between committing murder or revealing his cover. The Scott Grusin score includes songs by Minor Threat. Shown at the 1998 Slamdance Film Festival. ~ Bhob Stewart, Rovi

In this dark comedy, a woman fascinated with crime has an unexpected brush with a famous murderer's handiwork. Gabriela (Angela Jones) is a Colombian immigrant living in Miami who has been fascinated with violent death since she saw a falling corpse pass by her window as a child. Today she works for a cleaning service that specializes in mopping up the blood, gore, and bone fragments left behind at crime scenes, and she is tickled to discover one day that she's cleaning up after an execution by her favorite at-large serial murderer, The Blue Blood Killer (William Baldwin), so named because his victims are all wealthy women. But Gabriela doesn't know that the killer is still in the building; he managed to lock himself in the wine cellar while trying to escape, and he is slowly trying to remove the bolts from its lock while Gabriela makes the place livable again. However, while cleaning, she discovers a piece of evidence that could confirm the identity of the killer, just as he's about to emerge from the cellar. Curdled is an expanded version of a short film that director Reb Braddock made in 1991; the short inspired one of the episodes in Quentin Tarantino's film Pulp Fiction, and Tarantino in turn helped produce this feature-length remake, as well as making a cameo appearance. ~ Mark Deming, Rovi

An attempted black comedy, Getting In endeavors to satirize the cut-throat competition surrounding the medical school admissions process -- a struggle that in this case literally turns deadly. Gabriel Higgs is an aspiring medical student, not out of a great dedication to his craft but due to pressure by his parents, who expect him to follow the long-standing family tradition of attending Johns Hopkins and embarking upon a prominent medical career. However, a poor showing in the admissions test and several other mishaps conspire to place Gabriel on the school's waiting list. Desperate to gain entrance to the school before being disinherited, Gabriel takes to bribing his fellow waiting-list candidates to ensure his admission. But when the students at the top of the waiting list start turning up dead in rather nasty ways, Gabriel finds himself in real trouble. He must discover who is committing these crimes before he is blamed -- or becomes the next victim himself. Easily forgettable, the film is mainly notable for featuring early performances by future television stars Matthew Perry and Calista Flockhart, and for being the directorial debut of Doug Liman, who would receive critical acclaim for his second film, Swingers. ~ Judd Blaise, Rovi

In this sudsy and violent melodrama, a prominent actress is tormented by both an obsessive stalker and a trauma from her distant past. ~ Sandra Brennan, Rovi

An entertaining hybrid of Amicus-style horror anthology and gritty low-budget western, this first-time effort from writer-director Wayne Coe succeeds where many such genre-bending attempts have failed. The quartet of uneven but well-mounted stories are spun around a desert campfire by grizzled, menacing bounty hunter Morrison (a rousingly hammy James Earl Jones) and wet-behind-the-ears city slicker Farley (Brad Dourif). Morrison starts off with the tale of an Indian tribe's ritual revenge against the drunken cracker who desecrates their sacred burial ground; When Farley seems interested but unfazed, Morrison follows up with the more visceral story of a Good Samaritan who succumbs to temptation while rendering aid to a pregnant woman, leading to a particularly disgusting (though definitely original) demise. Appalled by the storyteller's lack of taste, Farley counters with a down-to-earth morality tale involving a prairie settler's young daughter who witnesses her father's horrifying act of hate, realizing that the man she trusted with her life is a very human breed of monster. Morrison acknowledges his companion's skill but offers another violent story according to his own idiom -- that of a slick gunfighter who gets his comeuppance by his own hand after winning a deadly competition. The stories feature fine acting and direction but are ultimately overshadowed by the engaging framing story and lack much of the dramatic payoff of their earlier British counterparts. ~ Cavett Binion, Rovi