Marc McClure Movies

Reconstructed using archival film and sound elements long thought to be extinct, this special cut of Superman II pieces together unseen footage shot by Richard Donner in order to present the most comprehensive version of what was to be the original cut of the blockbuster sequel. As initially planned, the first two films were to be filmed back-to-back using the same sets and actors to save on production costs. However, with a budget escalating out of control and Warner Bros. breathing down the producers' necks, the decision was made to drop any further filming on the sequel in order to finish the first movie and usher it into theaters. Of course, the first Superman was a wild success, so then it was just a matter of ramping up production again, though this time, Donner was not asked back. Instead, producers went with Richard Lester, who had served them well with his Three Musketeers films. Decisions were made to drop most of the key scenes that were already in the can, including all of the footage featuring Marlon Brando as Jor-El, the Man of Steel's father. After completion, the sequel found much success in theatrical and home-video box-office returns, though that didn't stop die-hard fans from speculating what Donner's cut would have looked like. Once the Internet was spawned, Warner Bros. saw interest grow more and more for this alternate version, even prompting the company to send cease and desist letters to individuals who had posted a re-edit of the film using deleted footage taken from an alternate TV version from the U.K. With the release of Superman Returns, the company saw this as a chance to finally deliver what people had wanted for years and enlisted Michael Thau to oversee the restoration process. Under the tutelage of Donner's notes, scripts, storyboards, and the director himself, the new version was delivered to home audiences in 2006, thereby not only giving people a look into what could have been, but giving a director an unprecedented chance to realize a vision long thought lost in the annals of movie history. ~ Jeremy Wheeler, Rovi

It has been two months since the smallpox lockdown at County General. The Emergency Room is now swamped with patients due to the wholesale closings of many other ERs in Cook County. Likewise, there is huge influx of new med students, among them the outspoken Erin Harkins (Leslie Bibb), who is tired of waiting for her first orientation. Elsewhere, Corday (Alex Kingston) has returned to Chicago, only to be immediately unnerved by the bizarre behavior of Weaver (Laura Innes). Romano's (Paul McCrane) severed arm has been re-attached, but he's not out of danger yet. And Pratt (Mekhi Phifer) performs what amounts to a medical miracle. ~ Hal Erickson, Rovi

In this sci-fi thriller a computer expert's mind is enhanced by that of a slain revolutionary. The trouble comes when the rebel's mind sets him off on a vendetta against a prominent, corrupt politician. ~ Sandra Brennan, Rovi

"Houston, we have a problem." Those words were immortalized during the tense days of the Apollo 13 lunar mission crisis in 1970, events recreated in this epic historical drama from
Ron Howard. Astronaut Jim Lovell (Tom Hanks) leads command module pilot Jack Swigert (Kevin Bacon) and lunar module driver Fred Haise (Bill Paxton) on what is slated as NASA's third lunar landing mission. All goes smoothly until the craft is halfway through its mission, when an exploding oxygen tank threatens the crew's oxygen and power supplies. As the courageous astronauts face the dilemma of either suffocating or freezing to death, Mattingly and Mission Control leader Gene Kranz (Ed Harris) struggle to find a way to bring the crew back home, all the while knowing that the spacemen face probable death once the battered ship reenters the Earth's atmosphere. The film received an overwhelmingly enthusiastic critical response and a Best Picture nomination, but lost that Oscar to another (very different) historical epic, Mel Gibson's Braveheart. In 2002, the movie was released in IMAX theaters as Apollo 13: The IMAX Experience, with a pared-down running time of 116 minutes in order to meet the technical requirements of the large-screen format. ~ Don Kaye, Rovi

The final installment in the Back to the Future trilogy picks up where the second film left off, but it casts off the dizzying time travel of the first two films for mostly routine comedy set in the Old West. Marty McFly (Michael J. Fox) receives a 70-year-old letter from his inventor friend, Doc Brown (Christopher Lloyd), who tells Marty that he has retreated a century in time to live out a relatively quiet life in the Old West. Doc Brown reveals that he hid his DeLorean car/time machine in an abandoned mine outside town, and when Marty does some research and discovers that the Doc died shortly after writing the letter, he decides to find the car, travel back in time, and warn the Doc about his demise. Meanwhile, the Doc, who has fallen in love with a local woman (Mary Steenburgen), realizes he can't hide in the past from the problems he has caused to the time flow in the previous two adventures. He reluctantly decides to return to the present with Marty, but first, they have to find a way to get the DeLorean up to time-travel velocity with a broken fuel line and no gasoline. ~ Don Kaye, Rovi

Handsome young Washington attorney Louie Jeffries (Chris McDonald) has it all: a promising career, a beautiful wife, and a baby on the way. But after discovering a local judge is in cahoots with the Mob, Louie bites it in a car crash and finds himself in Heaven. Unsatisfied with the customer service he's receiving, Louie jumps the gun and gets himself reincarnated -- before being administered the magic injection that will remove his memories of his former life. For the next quarter-century, Louie's museum curator wife, Corinne (Cybill Shepherd), remains true to her husband's memory, ignoring the frustrated devotion of Louie's best friend, Philip Train (Ryan O'Neal). Meanwhile, Louie's soul grows up in the body of Alex Finch (Robert Downey Jr.), an aspiring journalist. Alex's memories of his life as Louie return after he becomes romantically involved with Miranda (Mary Stuart Masterson) -- the daughter he never got to meet. Soon, Alex/Louie is romancing his wife, spurning his daughter's advances, and frustrating Philip's attempts finally to woo Corinne. Written by Mystic Pizza scribes Perry and Randy Howze and directed by Emile Ardolino of Dirty Dancing fame, Chances Are didn't score as well at the box office as those earlier comedies. Its soundtrack, however, generated the hit Peter Cetera and Cher ballad "After All." ~ Brian J. Dillard, Rovi

Little White Lies is a frenetic TV-movie hark bark to the "screwball comedies" of yore. Ann Jillian plays a just-getting-by Philadelphia policewoman who poses as a wealthy CEO because she's sick of "lady cop" jokes. Tim Matheson portrays a rich doctor who poses as a poverty-stricken orderly because he doesn't want women to pay attention to him because of his money. Mattheson falls for Jillian thinking that she's rich, while she falls for Matheson thinking that he's poor. And they went all the way to Rome to film this one. Little White Lies first aired November 27, 1989. ~ Hal Erickson, Rovi

In this romantic comedy, a lonely man meets a lonely woman after they each post ads in the lonely-hearts section of the classified ads. Unfortunately, neither one is totally honest about themselves and merry mix-ups ensue until a romance finally blossoms. ~ Sandra Brennan, Rovi

In the first episode of a two part story, Hunter (Fred Dryer) comes home to find the body of a murdered woman sprawled over a chair in his living room. Almost immediately thereafter, the corpse disappears--and with it all evidence of the killing. Though he doesn't know it at first, Hunter has unearthed a hotbed of intrigue involving a mysterious beauty, a Russian defector, and ruthless special agents from an unidentified Federal agency. ~ Hal Erickson, Rovi

Contemporary high schooler Marty McFly (Michael J. Fox) doesn't have the most pleasant of lives. Browbeaten by his principal at school, Marty must also endure the acrimonious relationship between his nerdy father (Crispin Glover) and his lovely mother (Lea Thompson), who in turn suffer the bullying of middle-aged jerk Biff (Thomas F. Wilson), Marty's dad's supervisor. The one balm in Marty's life is his friendship with eccentric scientist Doc (Christopher Lloyd), who at present is working on a time machine. Accidentally zapped back into the 1950s, Marty inadvertently interferes with the budding romance of his now-teenaged parents. Our hero must now reunite his parents-to-be, lest he cease to exist in the 1980s. It won't be easy, especially with the loutish Biff, now also a teenager, complicating matters. Beyond its dazzling special effects, the best element of Back to the Future is the performance of Michael J. Fox, who finds himself in the quagmire of surviving the white-bread 1950s with a hip 1980s mindset. Back to the Future cemented the box-office bankability of both Fox and the film's director, Robert Zemeckis, who went on to helm two equally exhilarating sequels. ~ Hal Erickson, Rovi

In a major departure from the tone of the preceding two Superman adventure films, this mix of vile deeds and fantasy heroics drops the "S" out of cosmic and goes for comic instead. Right at the starting gate, Gus Gorman (Richard Pryor) and a subsequent slapstick sequence upstage (Christopher Reeves again), who later develops an identity crisis. Gorman, newly trained as a computer whiz, starts working for a conglomerate run by the corporate nemesis Ross Webster (Robert Vaughn), intent on world domination. Gorman is sent to Superman's small town of Smallville to wipe out Columbia's coffee crop by fiddling with the computer side of a weather satellite. Clark Kent is in town for his class reunion, leading Superman to clash with Gorman, which in turn, leads Gorman to develop a hybrid red Kryptonite. Unwittingly, since Gorman's wits are always in doubt, the Red Kryptonite causes Superman to split into a Dr. Jekyll and Mr. Hyde schizophrenia -- but in two separate bodies. As the evil Superman swaggers around town, megalomaniac Ross Webster has other tricks in mind -- and in one of the more memorable action scenes (interspersed with a video game sequence), Superman is chased through the Grand Canyon by a fast-flying, very determined missile. Lana Lang (Annette O'Toole) is on hand for romantic interest (Margot Kidder only appears briefly -- she was growing tired of Lois Lane). ~ Eleanor Mannikka, Rovi

Dead Kids, aka Strange Behavior, is a creepy exercise from director Michael Laughlin--who conceived this as part one of an abortive "Strange Trilogy" which also included 1983's Strange Invaders. Although lensed in New Zealand, the film is set in a sleepy American town, in which a series of gory murders committed by local teenagers are linked to a twisted brainwashing scheme by a deranged behavioral psychologist (note irony please). Despite some humorous details (e.g. one killer dons a Tor Johnson mask) and a nostalgia for '50s pulp horrors (not to mention a fondness for splattery death scenes), the disparate plot elements don't come together as well as they should, failing to live up to the premise's potential for guilty chuckles or gasps of horror. Fiona Lewis is sexually menacing as the mad doc's assistant, but Louise Fletcher's wasted role may make viewers pine for Nurse Ratched. ~ Cavett Binion, Rovi