Margot Kidder Movies

The title of this Canadian film drama is, need we say, ironic. Director Milad Bessada underlines the tragedy and futility of Ireland's civil war by heavily underlining the sameness between the two warring factions. This he does by casting Margot Kidder in a dual role. Ms. Kidder plays twin Catholic girls, one loyal to the "cause," the other in love with a British soldier. Though A Quiet Day in Belfast is not rated, the unrelenting hopelessness of the subject matter may prove too intense for very young children. ~ Hal Erickson, All Movie Guide

A million dollar theft from a Las Vegas casino gains the attention of an insurance investigator in this film. ~ All Movie Guide

In the modern-day retelling of Jack and the Beanstalk, a young man named Jack (J.D. Daniels) is looking for a way to help out his financially stressed single mother. Finding a handful of magic seeds, Jack plants them and soon discovers that a gigantic beanstalk has sprouted, leading into the sky and to a strange but remarkable world of giants and adventure. The supporting cast includes Margot Kidder and Richard Moll. ~ Mark Deming, All Movie Guide

Body of Evidence was first telecast the same evening as A Father's Revenge and The Murder of Mary Phagan: January 24, 1988, which may well stand as one of the bloodiest evenings in TV history. The setting for Body of Evidence is a small cloistered Massachusetts town. When a serial killer begins decimating the female population, police inspector Tony Lo Bianco and forensic pathologist Barry Bostwick conduct an investigation. Only Bostwick's new wife Margot Kidder suspects that it is her seemingly benign husband who may be the murderer--and she's slower on the uptake than the viewers. Though set in New England, Body of Evidence was filmed in Calgary. ~ Hal Erickson, All Movie Guide

Four mere mortals adapt the personas of their favorite superhero characters, and filmmaker Matt Ogens chronicles the lives and ambitions of this curious quartet in a documentary that explores the allure of fame on the sidewalks of Hollywood Boulevard. Being a superhero isn't as easy as it appears in the flickering light of a darkened theater, but sometimes on the Walk of Fame it feels that anything is possible. Joe McQueen's journey began when he sold his Super Nintendo for a bus ticket to Hollywood and assumed the identity of The Incredible Hulk. Meanwhile, much like the character of Bruce Wayne, Maxwell Allen struggles with anger issues while assuming the guise of Gotham crime-fighter Batman. Now far from her former days as a Midwest beauty queen, Jennifer Gehrt walks the city streets dressed as whip-wielding do-gooder Wonder Woman. Some days, it seems that Christopher Dennis' every thought is consumed by how the character of Superman, whose cape he dons on a daily basis, would react to the chaos of Tinseltown. From mere fascination to all-consuming obsession, each one of these everyday superheroes are forced balance their own identities with the personas of the characters they portray as they struggle to achieve fame in a town where heroes are cheap, and stars come priced at a dime a dozen. ~ Jason Buchanan, All Movie Guide

This fact-based TV movie begins in 1987, as high-school athlete Alex Kelly (Matthew Settle) awaits his trial for the rape of one girl and the intimidation of several others. Rather than face the justice system, Alex flees to Europe, where he spends virtually the next decade, with covert financial help from his family. Falling in love with a girl in Sweden, Alex builds a whole new life for himself. Ultimately, however, Interpol tracks Alex down, whereupon the story takes a dramatic new turn. Told from the point of view of Alex's female victim, the film does nothing to whitewash its protagonist, even though actor Settle manages to invest his character with a modicum of sympathy; plus, the viewer is left to ponder whether the fault lies entirely with Alex, or with his upbringing. First broadcast by CBS as Crime in Connecticut: The Return of Alex Kelly on March 16, 1999, the film has since been rerun on cable as The Return of Alex Kelly. ~ Hal Erickson, All Movie Guide

Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.

Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide

This fast-paced, animated action feature zoomed into theaters with characters developed from a popular TV cartoon series. The GoBots can morph into mechanical contrivances like land rovers or spaceships and are divided between good GoBots and evil ones (called Renegades). As these two factions combat each other, the Rock People have their own problems. They are humans who can become literally petrified if danger approaches. In their boulder form, it's no problem at all to roll down a mountainside and get away from pursuers. But the evil Rock Lords are oppressing the poor Rock People, and it's high time the GoBots rolled in to do something about it. ~ Eleanor Mannikka, All Movie Guide

This pilot film for the TV series Harry-O was originally telecast under the title Smile, Jenny, You're Dead. David Janssen plays Harry Orwell, a seedy private eye investigating the murder of his friend's son-in-law. The principal suspect is the victim's wife Jenny (Andrea Marcovicci), a photographer's model. Since this is less a mystery than a suspense story, it isn't unfair to reveal that the real killer is a looney photographer (Zalman King, later a prolific producer of film erotica!), who is in love with Jenny and insanely jealous of anyone who gets in his way. The climax takes place on the roof of a high-rise. Guess what happens. The Harry-O series proper debuted in the fall of 1974, lasting two seasons. ~ Hal Erickson, All Movie Guide

The deep bond formed between a troubled nephew and his simple uncle, whose character is reminiscent of Lenny from Of Mice and Men, is the focus of this Canadian melodrama set during the Depression in rural Ontario. Nine-year old Verlin will not talk, or cannot talk. His concerned and overprotective mother takes him to a doctor. She is angry at her husband Ferris whom she believes is indifferent to her boy's plight. When Ferris's child-like brother Henry comes to visit, the boy's life begins to change. Henry spends time with boy and teaches him about life. The two befriend Mabel, a retired, town prostitute with physical disabilities. The three outcasts become very close as they encounter obstacles to their friendship. ~ Sandra Brennan, All Movie Guide

The lead character in Hockey Mom is a tough-minded single mother who loves to play the title sport. In order to silence the taunts of her workmates she challenges the men to play the woman in a game of hockey. Her competitive fires burn, but that may cost her a boyfriend and causes a riff with her son. ~ Perry Seibert, All Movie Guide