Lisa Lucas Movies

Director Ron Underwood follows up his crowd-pleasing hit City Slickers (1991) with this likable, feel-good comedy drama about a selfish businessman who discovers that he's permanently being followed by a group of ghosts. In 1959, a bus accident links the spirits of four fatally injured passengers to a newborn baby whose birth is caused by the crash. For 25 years, Milo (Tom Sizemore), Harrison (Charles Grodin), Penny (Alfre Woodard) and Julia (Kyra Sedgwick) remain bound to Thomas Reilly (Robert Downey Jr.), who believes the quartet to be imaginary childhood friends that have long since disappeared. When the four spooks suddenly realize that they are meant to use Thomas as a conduit to bring closure to their unfinished corporeal lives, they reemerge, causing Thomas to think that he's gone insane. As he becomes reattached to his supernatural companions, however, Thomas' innate decency asserts itself and he begins helping them to right the wrongs in their lives, allowing them to possess his body to achieve their goal of settling accounts and moving on into the afterlife. ~ Karl Williams, All Movie Guide

Hadley Hickman (Griffin O'Neal), a bucolic teenager from the Rural South, moves with his family to Southern California. Enrolled in a snobbish prep school, Hadley is victimized and ostracized by his too-cool classmates. To prove his worth, our hero takes up wrestling, and before long he's the school champ, thanks to the input of coach Ball (William Devane), a washed-up alcoholic who finds redemption through Hadley's example. Yes, it's Rocky Goes to Prep School. Shallow and predictable, the film's sole redeeming factor is the warm rapport between stars Griffin O'Neal and William Devane. ~ Hal Erickson, All Movie Guide

Dina (Maria Santiago) is a teenager brought up by her grandmother, employed as a housekeeper for a fairly well-off family. Since Dina only has her grandmother, she spends her time fantasizing about her life and reading comic-book love stories -- activities that do nothing to improve her dim perspective of reality. Due to these handicaps and her own inexperience, she gets involved with Django (Luis Lucas), a shady character who decides to use her as bait to attract men and then rob them. One day when both are in a taxi with robbery in mind, the driver gets suspicious so Django shoots him, and so does Dina. She escapes and runs away -- though it seems like she has learned too little too late. This story unfolds against a time of upheaval in Portugal (mid-1970s) when the military government is formulating a constitution and social changes are happening everywhere. ~ Eleanor Mannikka, All Movie Guide

A New York wife learns about the satisfactions of single life in this landmark 1970s "woman's film." Unlike her dysfunctional friends, vibrant Erica (Jill Clayburgh) seems to have it all: a nice Upper East Side home, a well-adjusted teenage daughter (Lisa Lucas), a job at a Soho art gallery, and a loving husband, Martin (Michael Murphy). Erica falls apart, however, when Martin leaves her for a younger woman. Finally, at her female therapist's urging, Erica ventures out into the world of singlehood, finding solace in female bonding and even casual sex. As she adjusts to her new life, Erica realizes that she likes her freedom and independence. But when she falls in love with sensitive bearded artist Saul (Alan Bates), Erica must decide whether to turn down a lucrative job to spend the summer with her man in Vermont or forge ahead with her new existence. One of a group of new "women's pictures" made in the wake of post-1960s feminism, including Alice Doesn't Live Here Anymore (1974) and The Turning Point (1977), An Unmarried Woman updated the genre's concern with relationships and love by turning the heroine's unwedded status into a positive growth experience. The great female stars of the past like Joan Crawford and Bette Davis may be gone, as Erica and her friends mourn, but so is the all-consuming suffering of classical weepies, as writer/director Paul Mazursky ends the film on a note of reserved affirmation. While some critics (including feminists) complained that Saul was too much of a romantic fantasy, An Unmarried Woman was praised for Clayburgh's performance, and earned Oscar nominations for Best Picture, Best Actress, and Best Screenplay. A hit with 1978 audiences, An Unmarried Woman provoked viewer debate over Erica's final choice and its meaning for women. Either way, An Unmarried Woman astutely pointed to how far the new 1970s woman had come -- and how far she still needed to go. ~ Lucia Bozzola, All Movie Guide

This made-for-TV drama focuses on the plight of a family of migratory farm workers. The film was Emmy-nominated as "Outstanding Drama" of the 1974 season. Nominations also went to director Tom Gries, actress Cloris Leachman, cinematographer Dick Kratina and composer Billy Goldenberg. ~ Brian Gusse, All Movie Guide

Set during Thanksgiving, this feature stars veteran performers Jason Robards, Sr. and Melvyn Douglas in a touching story of warmth, compassion, and reaching out during the feast of the year. ~ Michael Hastings, All Movie Guide