Bruce McGuire Movies

One of Oscar Wilde's most popular plays is given a new screen interpretation in this period comedy. In New York in the early '30s, Mrs. Erlynne (Helen Hunt) is a widow who lives comfortably through the largesse of several married men, and when she runs out of wealthy suitors in Manhattan, she decides to find greener pastures among the wealthy elite of Italy's Amalfi coast. Mrs. Erlynne sets her sights on Robert Windermere (Mark Umbers), a wealthy Englishman who is married to the young, innocent and very beautiful Meg (Scarlett Johansson). Mrs. Erlynne gingerly tries to separate Robert from his wife and his money, fueling suspicions within Amalfi society as well as the audience that they are involved. Humiliated and ready to beat him at his own game, Meg begins to consider the advances of the handsome Lord Darlington (Stephen Campbell Moore), one of her husband's close friends. In the midst of all the attempted infidelity, the genially eccentric Tuppy (Tom Wilkinson) struggles to win Mrs. Erlynne's hand, while only one of the interconnected parties know that she carries a shocking secret. A Good Woman was based on Wilde's Lady Windermere's Fan, with its title drawn from that show's subtitle, "A Play About a Good Woman." ~ Mark Deming, Rovi

A lusty executive for a high-tech company tries to juggle his life between two disparate wives and his mistress. He is also in the Army Reserves and it is while serving his annual two weeks that he gets into big trouble. Actually, he is not actually serving; instead, he convinced his buddy to pretend to be him and go in his stead. The problems begin when the stand-in is arrested for being a spy. ~ Sandra Brennan, Rovi

Juan (Antonio Banderas) has been trying to escape the sexual demands of his sister for some time. He now works at a nuclear power plant as a very specialized kind of welder. A gypsy girl has taken up with him, but is temporarily displaced in his bed by his sister who has found him again, after a brief search. At the same time, the sister is being wooed by an English engineer (Bruce McGuire) at the same plant, and gradually she relinquishes the hold she has held over her bother. ~ Clarke Fountain, Rovi

Sometime far into the future international powers settle their differences in gigantic arenas where each nation sponsors an incredible robot gladiator. These gladiators duke it out to determine the distribution of world territories. This might be best appreciated by pre-teen video warfare fans. ~ Rovi

The production team responsible for the twisted cult classic Re-Animator -- including director Stuart Gordon and producer Brian Yuzna -- returned the following year with this equally depraved (perhaps more so) follow-up, based once again (and very loosely) on the pulp-horror fiction of H.P. Lovecraft. Also returning to the fray is Jeffrey Combs, here playing the mild-mannered Crawford Tillinghast, apprentice to the dangerously obsessed Dr. Pretorious (Ted Sorel) and co-inventor of an enigmatic and ominous-looking device known as "The Resonator" -- a machine designed to stimulate the vestigial sensory apparatus contained within the human pineal gland. Such stimulation allows participants to "see" the slimy creatures which occupy a dimension parallel to our own, but with some chilling side effects -- the first of which being that the interdimensional vision works both ways. When a powerful sentient force devours Pretorious and assumes his consciousness, Tillinghast panics and destroys the Resonator -- soon to find himself in a padded cell, accused of his mentor's murder. Called to the case are Dr. McMichaels (Barbara Crampton, another Re-Animator alum) and amiable cop Bubba Brownlee (Dawn of the Dead's Ken Foree), who escort Tillinghast back to the shattered laboratory in an attempt to corroborate his deranged account by re-creating the experiment. Their attempts are all too successful, and the Pretorious-thing emerges to take control of the reactivated Resonator and draw the others into its hideous realm. Also called forth are the participants' darkest sexual desires -- another interesting by-product of pineal stimulation -- and, in Tillinghast's case, an uncontrollable urge to devour human brains. Just when it seems it can't get any weirder...it does. Gordon explores this demented scenario with relish, allowing nearly every scene to go completely over the top into surreal mayhem while retaining the dark brooding sense of menace characteristic of Lovecraft's work. (It's not likely, however, that the author's dignified upbringing would have explored the psychosexual dimensions of the premise -- at least not in the kind of detail seen here.) All manners of perversities abound, accompanied by the wizardry of four dueling special-effects studios and the rich, creepy score by Richard H. Band, bringing the film to a literally explosive climax and a chillingly poetic final shot. ~ Cavett Binion, Rovi