Joe McKenna Movies

An ordinary woman discovers that her life was not always ordinary in this action thriller. Samantha Caine (Geena Davis) is a typical, well-mannered single mother working as a schoolteacher when she isn't looking after her children. Nothing on the surface would seem to be remarkable about Samantha's life, but every once in a while she has vague memories and unexplained impulses that don't add up with her current life experience; she has scars but no idea of how they got there, she suddenly displays a deadly talent for knife-throwing while chopping vegetables for dinner, and when she sees a deer, she suddenly attacks it with her bare hands. When an auto accident and a television news broadcast stirs some more uncomfortable memories, Samantha hires private investigator Mitch Hennessey (Samuel L. Jackson) to look into her past and see what he can find. Mitch learns that Samantha isn't really Samantha after all -- her name is Charley and she used to be a professional assassin with a secret government intelligence program. After a severe head injury, Charley developed a case of amnesia, and in time she developed her new personality as Samantha. However, her old boss has kept tabs on her, and now that it looks as if the old Charley is starting to come out again, he sends a pair of hit men after her to see to it that she doesn't remember anything else; soon Samantha and Mitch are on the run, trying to outdistance the killers as they get to the bottom of Charley's secret life. The Long Kiss Goodnight was directed by Renny Harlin, husband of leading lady Geena Davis; this was their second project together, following Cutthroat Island, released the previous year. ~ Mark Deming, Rovi

Temistocles Lopez's Chain of Desire, based on Arthur Schnitzler's La Ronde, plays like an AIDS-era version of The Yellow Rolls Royce, in which a series of unrelated amorous lovers are connected by a "chain of desire." The film begins as Alma D'Angeli (Linda Fiorentino) flees from a lover and runs into a church, where she finds solace and a young Latino worker, Jesus (Elias Koteas). They make love. Then Jesus comes home to his wife Isa (Angel Aviles) and gets intimate with her. The next morning, Isa goes off to see Dr. Jerald Buckley (Patrick Bauchau), with whom she is having an affair. After seeing Isa, Jerald heads off to visit Linda (Grace Zabriskie), a sexy dominatrix. Linda returns home to her husband, Hubert (Malcolm MacDowell), a harried television commentator. After an unsatisfactory interview with women who claim to have had affairs with John F. Kennedy, he relieves his tensions by seeking the arms of Keith (Jamie Harrold), a teenage hustler. And the trail continues on as gay social worker Ken (Tim Guinee) offers Ken a place for the night, followed by Ken's lover David Bango (Dewey Martin) and hot dancer Diana (Holly Marie Combs), who wants David to deflower her. Coming on the scene after that is famed artist Mel (Seymour Cassel), who has a tryst with Diana, but he finds that he has to answer to his vindictive wife, Cleo (Assumpta Serna). At the end, all the characters arrive at a hip nightclub, where Alma, the singer at the club, has learned that the lover she had spurned at the beginning of the film has been diagnosed with AIDS. ~ Paul Brenner, Rovi

The rise of teen culture in 1950s Britain provides the backdrop for Julien Temple's unconventional rock musical Absolute Beginners. The film centers on Colin, an 18-year-old with a talent for photography and a fondness for the neon nightlife of British jazz clubs. He also is in love with Crepe Suzette, an impulsive, ambitious young beauty who abandons him after attracting the attention of a powerful fashion designer. Depressed and aimless, Colin turns for help to a flashy ad executive (David Bowie) who promises to make him a star photographer. The former lovers take parallel paths to success, capitalizing on the youth mania gripping the nation. The film's nostalgic yet gently satirical look at teen culture is tempered by a recognition of the era's social tension, particularly a disturbing rise in racism. Despite these serious undertones, however, the film tells its story with a colorful vibrancy reminiscent of both MTV and old Hollywood musicals, filled with such show-stopping numbers as a memorable sequence in which Bowie dances on a giant typewriter. Critical reception was mixed, with some hailing the film's spectacular cinematography and ambitious scope, while others found the mixture of tones and style too inconsistent. The film also drew lukewarm response at the box office, with the memorable soundtrack receiving more attention than the film itself. ~ Judd Blaise, Rovi