O-Lan Jones Movies

Paul Clemens plays the real-life Peter Reilly, who in September of 1973 was charged with the mutilation and murder of his mother. The confused 18-year-old signs a confession after being told that he's flunked a lie detector test. Later renouncing the confession, Reilly demands a reopening of his case. The citizens of Peter's home town of Canaan, CT, who'd been willing to see the boy thrown in jail for life when the case first hit the papers, now rally around the youth, insisting that his constitutional rights have been violated. New evidence uncovered by a sympathetic detective enables Peter to press his case. Stefanie Powers plays Joan Barthel, the Canaan resident and free-lance journalist who chronicled Peter's bid for freedom. The made-for-TV A Death in Canaan was first telecast March 1, 1978. ~ Hal Erickson, Rovi

Covering some 15 years, The Right Stuff recounts the formation of America's space program, concentrating on the original Mercury astronauts. Scott Glenn plays Alan Shepard, the first American in space; Fred Ward is Gus Grissom, the benighted astronaut for whom nothing works out as planned; and Ed Harris is John Glenn, the straight-arrow "boy scout" of the bunch who was the first American to orbit the earth. The remaining four Mercury boys are Deke Slayton (Scott Paulin), Scott Carpenter (Charles Frank), Wally Schirra (Lance Henriksen) and Gordon Cooper (Dennis Quaid). Wolfe's original book related in straightforward fashion the dangers and frustrations facing the astronauts (including Glenn's oft-repeated complaint that it's hard to be confident when you know that the missile you're sitting on has been built by the lowest bidder), the various personal crises involving their families (Glenn's wife Annie, a stutterer, dreads being interviewed on television, while Grissom's wife Betty, angered that her husband is not regarded as a hero because his mission was a failure, bitterly declares "I want my parade!"), and the schism between the squeaky-clean public image of the Mercury pilots and their sometimes raunchy earthbound shenanigans. ~ Hal Erickson, Rovi

Michelle Pfeiffer is Married to the Mob in this comedy. The wife of Mafia hitman Alec Baldwin, Pfeiffer regularly chastizes her husband for his underhanded line of work. Baldwin refuses to entertain any thoughts of quitting the mob-and besides, he's got a good thing going with Nancy Travis, the promiscuous girl friend of gang boss Dean Stockwell. When Stockwell catches on to Travis' peccadilloes, he murders both his mistress and the unlucky Baldwin. At Baldwin's funeral, Stockwell is overwhelmed by Pfeiffer's beauty, and immediately begins plying her with expensive gifts. But Pfeiffer is through with this sort of thing, and with her young son in tow, she leaves town, hoping to start life anew. Upon making the acquaintance of bumbling, seemingly sincere Matthew Modine, Pfeiffer is convinced that Modine is just another mob flunkey. But it's even worse: Modine is an FBI agent, ordered to get to Stockwell by using Pfeiffer as bait. Reluctantly (he's grown quite fond of her himself), Modine blackmails Pfeiffer into setting up a rendezvous with Stockwell. ~ Hal Erickson, Rovi

Miracle Mile starts conventionally enough, with bashful musician Anthony Edwards going ga-ga over waitress Mare Winningham. After a pleasant if somewhat quirky day together, Edwards and Winningham plan a tete-a-tete at the all-night restaurant where the girl works. While preparing to call her on a pay phone, Edwards intercepts a frantic call from a soldier stationed at a Midwestern missile silo. The message: nuclear warheads have been launched, and it's only 70 minutes to Armageddon! This unsettling news casts severe doubts over the future of Edwards' and Winningham's relationship. ~ Hal Erickson, Rovi

Tim Burton's Edward Scissorhands opens as an eccentric inventor (Vincent Price) lovingly assembles a synthetic youth named Edward (Johnny Depp). Edward has all the essential ingredients for today's standard body, with the exception of a pair of hands. For what is initially thought to be a temporary period, he is fitted with long, scissor-like extremities that, while able to trim a mean hedge, are hardly conducive to day-to-day life. When the kindly inventor dies, however, Edward is left lonely and cursed with some very heavy metal for hands. He is eventually taken in by Peg Boggs (Dianne Weist), an Avon lady who takes pity on him after seeing his bleak existence. Edward, in spite of his inherent ability to slay anyone he comes across, is a gentle soul whose only wish is to be loved. His impromptu family has, at best, a limited understanding of Edward, but he finds himself drawn to Peg's weary but sympathetic daughter, Kim (Winona Ryder), who is dating Jim (Anthony Michael Hall), the neighborhood bully. Meanwhile, Edward finds himself a local celebrity after the town realizes that his talents include creative hedge trimming and an unrivaled ability to cut hair. His so-called friends are proven fair-weather when Edward is accused of a crime, after which his only supporters are Peg and Kim. ~ Tracie Cooper, Rovi

In the film adapted from a book by Frederic Brown, a music composer (Randy Quaid) receives an invitation to score an upcoming science-fiction film. When the piece is accidentally broadcast on the radio, it encourages a rather pedestrian invasion force from Mars. The legion of green men instead cause havoc around the globe just by having fun, and it is the composer's duty to send them packing. ~ John Bush, Rovi

Feeling that something is lacking in their lives, the family of suburbanite Charles Grodin adopts a stray St. Bernard puppy. The cute lite beast grows up to be the less-than-cute Beethoven, a sloppy, slobbery, oversized and extremely destructive animal. Beethoven also brings with him a lot of hidden baggage in the form of evil veterinarian Dean Jones, who'll stop at nothing to steal Beethoven for the purposes of his insidious lab experiment. Several sequels followed, beginning with 1993 Beethoven's Second. ~ Hal Erickson, Rovi

Paul Bartel directed this film version of a performance art piece by O-Lan Jones, Andrea Stein, and Jim Turner, who play Tina, Pam, and Scotty -- three grown-up kids who have spent the last thirty years sealed off in a backyard family bomb shelter. A prologue explains what happened: in 1963, when John Kennedy is assassinated, a typical middle-class family from Anaheim retreat to their backyard bomb shelter, afraid that the commies are coming. In 1993, they are still there -- even Mom and Dad, who have since died, but the bones are laid out nicely on their bed. The brother and two sisters, in worn-out clothing, amuse themselves by playing silly little games (something called "Egyptian Fantasy" with Ken as the Pharaoh), engaging in absurd rounds of role playing (Tina as a high-school tease), and hurling senseless rebukes at one another ("I can't hear you. I've got a set of encyclopedias up my butt"). ~ Paul Brenner, 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

Michael Di Jiacomo made his directorial debut with this allegory that opens with a 12-minute black-and-white prologue about three French filmmakers who encounter the tuba-playing Tollkeeper (Mickey Rooney) on a silent stretch between two ghost towns in the Utah desert. In NYC, an armed thief (John Turturro) holds up despairing cabdriver Henry (Tim Roth), who tells him to go ahead and pull the trigger. With the thief gone, Henry's next passengers are the three Frenchmen seen earlier, and he takes them into New England where he's so spellbound by the beautiful Fatima (Mili Avital) that he takes a job with her irritating mother in order to maintain his pursuit of Fatima. Shown at the 1998 Sundance Film Festival. ~ Bhob Stewart, Rovi