Tom McDermott Movies

When Arthur Miller's play The Crucible was first staged in 1953, it was widely acclaimed as a metaphor for the recklessness of Joseph McCarthy and his spurious crusade against communism. In its 1996 screen adaptation (scripted by Miller), the tone has been adjusted somewhat and plays as a warning against the dangers of political and religious extremism of all kinds. After a group of young women is accused of witchcraft in the Puritan community of Salem, Mass. in 1692, Abigail Williams (Winona Ryder) is held in suspicion of practicing magic. Abigail in turn levels charges against John Proctor (Daniel Day-Lewis) and his wife Elizabeth (Joan Allen). Abigail has a private grudge against the Proctors; while working as their servant, she had an affair with John, and when John ended the relationship and returned to his wife, Abigail was fired. Now the Reverend Parris (Bruce Davison) is hearing accusations and counter-accusations of misdeeds from all sides of the community in the wake of Abigail's charges, so he brings in Judge Danforth (Paul Scofield) to determine who is guilty or innocent. However, given the moral climate of the time, it seems someone has to be found guilty of witchcraft, even though firm evidence of wrongdoing is becoming hard to come by. This was the second screen version of The Crucible, though it was the first one in English; the previous version, filmed in France in 1956, starred Simone Signoret and Yves Montand. ~ Mark Deming, Rovi

In this adaptation of a stage play by Jon Robin Baitz, a successful head of a New York publishing firm unravels after the death of his wife. Isaac Geldhart (Ron Rifkin) is a German Jewish survivor of the Holocaust who has been emotionally scarred by the traumas of his childhood, during which he spent many days hiding in an attic full of books. He has grown into a demanding perfectionist of a businessman, but his company is failing despite a sterling reputation for quality. He becomes obsessed with publishing a four-volume work on the techniques used in the Nazi genocide. His son Aaron (Tony Goldwyn) pleads with his father to try more commercially viable books, especially a hip contemporary first novel written by Val (Gil Bellows), who turns out to be Aaron's lover. But neither Aaron nor Isaac's long-suffering assistant Miss Barzakian (Elizabeth Franz) can dissuade the publisher from carrying out his financially disastrous plan. Aaron calls his two siblings Sarah (Sarah Jessica Parker), a children's TV show personality, and Martin (Timothy Hutton), a college professor, to a family meeting to try to resolve things, but their father blows up. Aaron's siblings sign over their shares in the publishing company to Aaron, effectively freezing out their father, who stubbornly sets up his own company and proceeds with his Holocaust project, which in the end proves a disappointment to him. Isaac's world falls apart as he becomes more belligerent, and Martin moves in with him to take care of him. ~ Michael Betzold, Rovi

Liebestraum is a moody, stylish suspense thriller written and directed by British director Mike Figgis. Nick (Kevin Anderson) is an architectural writer who goes home to be with his dying mother, Mrs. Anderssen (Kim Novak) from whom he was separated as a baby. There he meets an old friend and has an affair with the friend's wife, who was herself adopted after her mother went insane. Through a series of coincidences and a good deal of investigation Nick learns some terrible truths concerning everyone. The film, while beautiful to look at, and with a wonderful score composed by Figgis, is more interested in style and emotion rather than cogent explanations for the actions of the characters, however, taken for what it is, a mood piece, Liebestraum succeeds beautifully. Figgis has beautiful technique and is greatly aided by Juan Ruiz-Anchia's stark and evocative images. ~ Linda Rasmussen, Rovi

Penny Marshall in her feature film directing debut, four screenwriters, and a ebullient Whoopi Goldberg join forces to make Jumpin' Jack Flash, a modern espionage comedy. Goldberg plays Terry Doolittle, a computer operator in a large New York City bank who picks up a cry of help on her computer. The signal is from a man who signs off as Jumpin' Jack Flash. Based on the Rolling Stones tune of that name, she figures out his secret password and opens up a Pandora's box of international intrigue. It seems Jack Flash is a pseudonym for a British agent who is trapped in Russia and desperate for information from the British Embassy that will help him escape. When Terry agrees to help him, the CIA, the KGB, British intelligence, and sundry other law enforcement organizations are all hot on her tail as she tries to help the beleaguered British agent. ~ Paul Brenner, Rovi

A man is torn between true love and the lure of fine dining in this romantic comedy. Alby Sherman (Elliott Gould) was born and raised in Brooklyn, where he runs a coffee shop. Alby has dreams of doing bigger and better things, and he works up the courage to ask his rich Uncle Benjamin (Sid Caesar) if he'd be willing to front him the money to open a gourmet restaurant in Manhattan. Benjamin, however, doesn't care for Alby's girlfriend Elizabeth (Margaux Hemingway), mainly because she's Catholic, and he makes Alby an unexpected offer -- he'll give him the money, but only under the condition that he breaks up with Elizabeth and marries a nice Jewish woman. The supporting cast features Carol Kane and Shelley Winters. ~ Mark Deming, Rovi

Remember that controversial participation game of the 1980s called "Dungeons and Dragons"? Remember how sociologists warned us that the game was potentially dangerous to those who couldn't altogether separate fantasy from reality. This is the premise of Mazes and Monsters, a made-for-TV film based on the best-seller by Rona Jaffee. Future Oscar-winner Tom Hanks portrays one of four college students who become so deeply involved in a Mazes & Monsters session that the results may turn fatal at any moment. Despite its potential for silly sensationalism, the film is based on a believable premise, and arrives at a logical conclusion. When first aired December 28, 1982, this Canadian-American production was titled Rona Jaffee's Mazes and Monsters. ~ Hal Erickson, Rovi