David Margulies

The title refers to the duration of the relationship between self-absorbed Wall Street shark Mickey Rourke and divorced art gallery owner Kim Basinger. Kim is looking for true love, while Mickey is searching for...gosh knows what. His notions of lovemaking include blindfolds, ice cubes, chocolate syrup, and rolling around on spent peanut shells. When the alotted 9 1/2 weeks are up, Kim has finally come to realize that Rourke has been using her. We could have told her that twenty minutes into the film. One of the definitive works in the Mickey Rourke ouevre, 9 1/2 Weeks is deliciously awful, and as such will probably endure as a Camp Classic for the next hundred years. The film is available in both R-rated and unrated versions; either way, it's a hoot. ~ Hal Erickson, All Movie Guide

When a Jewish jeweler is found dead and his store is missing more than one million dollars in diamonds, a New York police detective (Melanie Griffith) goes undercover in a community of Hasidic Jews to find the criminal. Once she is immersed in the community, she falls in love with one of the most devout members, who helps her find the criminal. ~ Stephen Thomas Erlewine, All Movie Guide

"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, All Movie Guide

Brighton Beach Memoirs is the first of playwright Neil Simon's unofficial "autobiographical trilogy" (it was followed by Biloxi Blues and Broadway Bound). Jonathan Silverman repeats his stage role as Simon's teenaged alter-ego Eugene, who lives in 1937 Brooklyn with his parents (Blythe Danner and Bob Dishy), older brother Stanley (Brian Drillinger), aunt (Judith Ivey) and female cousins (Stacey Glick and Lisa Waltz). Much is made of Eugene's burgeoning sexual self-awareness and his father's efforts to support his huge extended family on his meager salary. ~ Hal Erickson, All Movie Guide

Sidney Lumet directed this film version of E.L. Doctorow's novel The Book of Daniel (scripted by Doctorow) that deals in a thinly veiled (although dispassionate way) with the Rosenberg spy case of the 1950s, as seen through the eyes of their children. The Rosenbergs are the Isaacsons here, and the first image of the film is a close-up of their son Daniel's (Timothy Hutton) eyes as he recites a dictionary definition of the word "electrocution." Daniel becomes a detective as he seeks out friends and relations of his parents -- Paul (Mandy Patinkin) and Rochelle (Lindsay Crouse) -- to discover some meaning from his parents' conviction as Russian spies and their execution in the electric chair during the communist paranoia of the 1950s. Daniel is prompted to investigate the past by the near-suicide of his hysterical sister Susan (Amanda Plummer). The film weaves back and forth in time, recalling the period from the 1930s to the 1950s. In a strangely uninvolving way, Lumet's film takes no point of view, the only emotion derived from the almost continuous sounds of Paul Robeson's singing on the soundtrack. ~ Paul Brenner, All Movie Guide

Set in 1969 Los Angeles, this movie aims at nostalgia but really is more a depiction of the tragedy of a dysfunctional family. Young Andrew, a 13-year-old male on the brink of manhood, is saddled with a Father who is a compulsive gambler and a Mother who is immersed in constant battle with him because of it. Often desperate for money, their dependence on Andrew's older sister for money is one more cause of tension and anxiety in an already unhappy household. As Andrew cares for himself and his younger sister, the symbol of his coming of age--his approaching bar-mitzvah--comes to symbolize more than just a rite of passage. ~ Tana Hobart, All Movie Guide

Bill Murray, Dan Aykroyd, Harold Ramis and Ernie Hudson star as a quartet of Manhattan-based "paranormal investigators". When their government grants run out, the former three go into business as The Ghostbusters, later hiring Hudson on. Armed with electronic paraphernalia, the team is spectacularly successful, ridding The Big Apple of dozens of ghoulies, ghosties and long-legged beasties. Tight-lipped bureaucrat William Atherton regards the Ghostbusters as a bunch of charlatans, but is forced to eat his words when New York is besieged by an army of unfriendly spirits, conjured up by a long-dead Babylonian demon and "channelled" through beautiful cellist Sigourney Weaver and nerdish Rick Moranis. The climax is a glorious sendup of every Godzilla movie ever made-and we daresay it cost more than a year's worth of Japanese monster flicks combined. Who'd ever dream that the chubby, cheery Stay-Puft Marshmallow Man would turn out to be the most malevolent threat ever faced by New York City? When the script for Ghostbusters was forged by Dan Aykroyd and Harold Ramis, John Belushi was slated to play the Bill Murray role; Belushi's death in 1982 not only necessitated the hiring of Murray, but also an extensive rewrite. The most expensive comedy made up to 1984, Ghostbusters made money hand over fist, spawning not only a 1989 sequel but also two animated TV series (one of them partially based on an earlier live-action TV weekly, titled The Ghost Busters. ~ Hal Erickson, All Movie Guide

This TV film was the 2-hour pilot for the Gideon Oliver series. Louis Gossett Jr. stars as Oliver, an anthropology professor who uses his knowledge of other cultures to solve mysteries. In the opener, Professor Oliver tackles the murder of an ex-lover, who'd been investigating a cult of satanists. The storyline takes side trips into the porn industry and "snuff" films, but Gossett emerges with his dignity and reputation unsullied. Gideon Oliver was one of three rotating series telecast in 1988-89 under the umbrella title The ABC Monday Mystery Movie; the other components were B.L. Stryker and old reliable Columbo. When Mystery Movie was picked up for a second season, Gideon Oliver was not retained. ~ Hal Erickson, All Movie Guide

This comedy-drama is the feature theatrical debut of TV director Nell Cox. Manhattan lawyer Laura (Rya Kihlstedt) is on edge about her promotion to partner at her law firm, while husband Jeff (Robert Stanton) is tired of the grind producing TV commercials. They head upstate for a weekend with Laura's mother, sculptor Julia (Lois Smith), hoping to resolve their marital conflicts. Shown at the 1997 Mill Valley Film Festival. ~ Bhob Stewart, All Movie Guide

Love at first sight has some interesting repercussions a few months down the line in this offbeat romantic comedy. Ira Black (Chris Messina) is a wildly neurotic thirtysomething who can't get his life in gear -- the son of a pair of therapists, Arlene (Judith Light) and Seymour (Robert Klein), Ira still hasn't finished his grad school dissertation, he's been in therapy for 12 years, and can't bring himself to settle down with his longtime girlfriend Lea (Maddie Corman). When both Lea and his analyst inform Ira that they don't want to see him anymore, he decides he needs to make some changes. Ira joins a health club, where he meets Abby Willoughby (Jennifer Westfeldt), who is supposed to sell memberships to the gym but is much better at listening to people's problems. The two discover they have a strong and immediate rapport, and Ira asks Abby to marry him only a few hours later. Abby says yes, and soon the couple are wed. However, it isn't until after they've been married for a few weeks that Ira discovers Abby has been divorced twice already, and it makes him very uneasy about their relationship. Despite more therapy, Ira asks Abby for a divorce, and it sends shock waves through their families -- Arlene begins having an affair with Michael (Fred Willard), Abby's free-spirited father, while Seymour commiserates with Abby's mother Lynne (Frances Conroy), and eventually parents and children are all meeting together in group therapy for couples. Ira and Abby was written by leading lady Jennifer Westfeldt, who was also screenwriter and star for the independent hit Kissing Jessica Stein. ~ Mark Deming, All Movie Guide

Kojak is sidetracked by a lovely girl while investigating the activities of a corrupt drug lord. ~ All Movie Guide

Luke Perry stars in this surprisingly moving adult drama about a devoted husband whose wife (Francie Swift) is dying of cystic fibrosis. Because of her rare blood type, she can't get new lungs, so Perry begins a frantic search to find a donor. Eventually, he becomes so desperate that he starts having an affair with a real-estate agent (Gia Carides) whom he plans to murder because she's a match with Swift and has signed her donor card. Director P.J. Posner shows a surprising amount of sensitivity and character development in what was obviously designed to be no more than a cheap erotic thriller. Perry and Swift are believable and sympathetic, and the portrait of Swift's degenerating condition and Perry's desperation is moving and poignant. Only a cliched scene tacked on at the end gives the film's intentions away despite its frequent sexual situations and nudity. ~ Robert Firsching, All Movie Guide

A man who was about to blow the whistle on a widespread credit-card scam is murdered. It does not take long for the police to round up the killer, a Romanian immigrant named Leon Iliescu (Morgan Weisser). The D.A.'s office is confident of a conviction -- until the accused man's lawyer, Jonathan Shapiro (Alan King), declares that his client is "not guilty due to cultural insanity," a helpless victim of the ongoing violence in Romania. ~ Hal Erickson, All Movie Guide