Charles McGowan Movies

Ultimate manly man Arnold Schwarzenegger learns what it's like to be an expectant mother in director Ivan Reitman's high-concept comedy. Schwarzenegger plays Dr. Hess, a medical researcher working on a revolutionary drug to help mothers carry endangered infants to term. When government regulations prevent Dr. Hess from testing the drug through normal channels, his partner Dr. Arbogast (Danny DeVito) develops an unorthodox solution: they will steal a female egg and implant it in Hess, who will carry the child himself. Predictably, much of the subsequent humor centers on the incongruous sight of the muscular Schwarzenegger undergoing the trials and tribulations of pregnancy, from morning sickness to labor pains. Emma Thompson returns to her comic roots and provides romantic interest as an incorrigibly clumsy but intelligent scientist who catches on to Hess' deception. Reitman, Schwarzenegger, and DeVito had previously had a hit with Twins (1988), which revolved around a similarly ludicrous medical premise, but they failed to repeat that film's success here, as audiences largely ignored the film and reviewers criticized the humor as disappointingly obvious. ~ Judd Blaise, Rovi

High-concept director Robert Zemeckis applies his usual polish -- helped by an equally adept cast -- for this surprisingly gruesome and extremely funny black comedy. The film begins with narcissistic actress Madeline (Meryl Streep) stealing the latest in a series of potential fiancées, wimpy plastic surgeon Ernest (Bruce Willis), from her ex-best friend Helen (Goldie Hawn). Depressed and infuriated, Helen suffers a breakdown that lands her in a mental hospital -- in addition to a junk-food bender that seems to triple her weight. When Madeline crosses paths with Helen again many years later, she is horrified to discover her once-chunky rival looking younger, slimmer and more glamorous than ever before. Fearing that Helen will try to steal Ernest back -- and dreading the thought of not having a plastic surgeon at her beck and call -- Madeline solicits the supernatural services of an exotic New Age mystic (Isabella Rossellini), who sells her a potent youth elixir with the stipulation that she follow the dosage instructions to the letter... yeah, right. It appears that Helen owes her sexy comeback to the same magic formula, and the inevitable violent clash between the two well-dressed banshees leads to the realization that both women have become nearly impervious zombies, clawing at each other's throats long after the blood has run cold in their veins. Best remembered for Dick Smith's Oscar-winning makeup effects, which allow the rapidly-rotting undead femmes to toss off witty one-liners with ragged holes blasted through their bodies or spin their heads Exorcist-style. Not all the sight gags work, and Zemeckis' lighthearted treatment of such grotesque material tends to dull the satirical edge, but there are some truly inspired moments of dementia -- particularly a hilarious cameo from Sydney Pollack as a doctor who comes unglued while examining Streep (who has yet to realize she's dead). ~ Cavett Binion, Rovi

Broadway's celebratory musical about rejection makes it to the screen in a fizzless adaptation by Richard Attenborough that misses the whole point of the Broadway show -- i.e. the dancing and the dancers. Instead, the dancers become a limp Greek chorus for the dead love affair between a choreographer, Zach (a pre-Gordon Gekko Michael Douglas) and his old flame, Cassie (Alyson Reed) the star dancer. Zach is holding try-outs for a new Broadway musical and, as armies of dancers are brought on stage to audition for Zach, he sits in the darkened recesses of the theater, puffing on a cigarette, as he winnows out hopeful dancers who want to become part of the chorus line for Zach's new show. Finally, Zach has reduced the dancers to 16 men and women, and he asks each of them to step to the footlights and tell him about their lives and their dreams. But backstage, while the dancers are confessing their pasts to Zach, Zach's past walks through the stage door. Cassie, Zach's ex-lover, whom Zach met, courted and broke up with in the theatrical environs, has returned. Once a big star, Cassie has returned to the theater -- not to see Zach but to audition for Zach's musical. She needs the work. ~ Paul Brenner, Rovi