Lisa Marie Movies

Musician Nick Nero (Norman Reedus) and poet Nick Beat (Mark Boone, Jr.) are two luckless dreamers in search of a paying gig when they discover a mysterious box with the power to make all of their wildest dreams come true. With a wealth of infinite beats now at their disposal, the hapless misfits set their sights on performing at the Monkey Club, the city's hottest night spot. But when Nick Nero falls for club owner Mack Drake's (Eric Roberts) captive bride Nica (Elodie Bouchez), it all starts to fall apart. After uniting to perform their biggest gig yet, the two Nicks embark on a quest to return the box to its rightful owner. ~ Jason Buchanan, Rovi

Fast cars, quarreling lovers, two-faced drug dealers, and a house full of marijuana collide head-on in this comic road movie. Cole (Breckin Meyer) and Bruce (Jake Busey) run an auto repair shop for vintage cars; the shop is steadily losing money, thanks to Bruce's refusal to work on cars he believes are beneath his dignity and his habit of supplementing his pay by dipping into the cash register. Cole also has problems at home, where his long-time girlfriend Angie (Tanya Allen), is giving him grief about his immaturity. Angie gets word that her brother Ben (Jaimz Woolvett), who grows marijuana in Vancouver, has been busted and needs someone to clear out his grow house before the cops can get to it. However, Angie is in a race with Ben's double-crossing girlfriend Eve (Elizabeth Berkley), who hopes to sell Ben's marijuana behind his back. Angie needs to make tracks to Vancouver, and Cole offers to help her, but Angie is not happy when Bruce and his crazy girlfriend Wendy (Denise Richards) invite themselves along and turn the trip into a road race. Tail Lights Fade features a stellar alternative rock soundtrack, including songs by The Minutemen, The Lyres, The Demolition Doll Rods, The Misfits, Buffalo Tom, and The Modern Lovers. ~ Mark Deming, Rovi

This "neo-noir comic thriller" from director Amos Poe focuses on struggling actress Eva (Barbara Hershey), a waitress who moonlights by making collections for her ex-husband, loan shark Al (Robbie Coltrane). Her day job is at a Lower Manhattan diner owned by Quint (Ian Hart). Others on the scene are Eva's new boyfriend Zip (John Leguizamo), aspiring actress Myrna (Lisa Marie), Al's girlfriend Simone (Debi Mazar), tough thug Gascone (Ron Perlman), and Al's driver U.B. (David Deblinger). Eva is ready to drop both collecting and acting, dreaming of a picket-fence lifestyle with her son Augie (Zak Kerkoulas), but Al needs her for just one more job -- locating the missing $600,000 stolen from him by Flav (Justin Theroux). Al also plans to stage a production of David Mamet's American Buffalo, and he offers a role to U.B. -- if he will kill Zip. Shown at the 1998 Berlin Film Festival. ~ Bhob Stewart, Rovi

Hollywood visionary Tim Burton pays homage to another Hollywood visionary, albeit a less successful one, in this unusual fictionalized biography. The film follows Wood (Johnny Depp) in his quest for film greatness as he writes and directs turkey after turkey, cross-dresses, and surrounds himself with a motley crew of Hollywood misfits, outcasts, has-beens, and never-weres. The real story, however, is his friendship with aging, morphine-addicted Bela Lugosi (Martin Landau), whom he tries to help stage a comeback. Landau's unforgettable Oscar-winning performance must be seen to be believed, as must Rick Baker's Oscar-winning makeup. While it would have been easy to make a film simply ridiculing the bumbling director, Burton instead focuses on his driving passion for filmmaking and his unwavering persistence in the face of ridicule and failure. Possibly the most surprising aspect of the film is the genuine sentiment with which Burton treats the relationship between Wood and Lugosi; his devotion to Lugosi is touching, as is Lugosi's final soliloquy -- an inane bit of dialogue from the hilariously bad Bride of the Monster that grows into a poignant metaphor for the actor's life and ultimate triumph of his spirit. Even the look of the film is right; it manages to preserve the air of one of Wood's own films while retaining a sense of artistry in much of the composition on screen (note the scene at the drug rehab where Lugosi endures a horrifying night of detox). In all, Ed Wood is a unique film -- at times side-splittingly funny; at others, tragic or even frightening -- and a heartfelt tribute to the love of movies, good and bad alike. ~ Jeremy Beday, Rovi

Let's Get Lost is a penetrating Oscar-nominated documentary on the life of jazz trumpeter Chet Baker (1929-1988). After a generous amount of screen time devoted to Baker's American career, from his days with Charlie "Bird" Parker and Gerry Mulligan to the formation of his own combo, the film dwells upon Baker's lengthy tenure in Europe. Of particular interest are the clips culled from Baker's appearances in Italian films of the 1960s. In-depth interviews with Baker's friends and co-workers paint a portrait of a troubled genius, whose drug addiction and womanizing gradually eroded his talent. Much of the terminal footage is literally that, showing in harsh detail what Chet Baker had become in his last year on earth. ~ Hal Erickson, Rovi