Randle Mell Movies

Nina (Sarah Clarke) is brought into CTU. Jack (Kiefer Sutherland) has an emotional reunion with Kim (Elisha Cuthbert). He wants to interrogate Nina about Alvers (Lothaire Bluteau), but Chappelle (Paul Schulze) insists that Jack himself be interrogated about his heroin problem. So Tony (Carlos Bernard) handles Nina, while Rae Plachecki (Jenette Goldstein) from the inspector general's office questions Jack about why he started using heroin long before he got in with the Salazars. Chappelle proposes fudging the timeline so his drug use looks more legitimate, and letting Jack get back to work, but Jack refuses to lie about his actions, or even justify them. "This office demands results," Jack tells them. "That's what I provide." Darren Richards (Butch Klein), an interrogation (torture?) specialist, is brought in to work on Nina, with disastrous results. Jack seems to be the only one at CTU who understands just how dangerous Nina is. Chase (James Badge Dale) learns that Kim found out that the baby is his. He asks Chloe (Mary Lynn Rajskub) how she took the news. "Gee, I don't know, Chase," Chloe tells him. "I think she's kinda pissed." Meanwhile, Sherry (Penny Johnson Jerald) returns to Palmer (Dennis Haysbert) headquarters, and tells him that she only spoke to Julia (Gina Torres) on the phone. But Julia calls Wayne (D.B. Woodside) with the real story. Palmer meets with his cabinet to decide whether or not to go public with the terrorist threat. ~ Josh Ralske, Rovi

A janitor is found murdered in a college science laboratory. The prime suspect is a student employee (Mark Bateman) with a troubled past. In a spectacular, suspenseful, and emotional climax, the D.A.'s office goes after a college scientist (John Bedford Lloyd) indulging in experimental drug research -- a prosecution which hinges upon a suppressed medical report. ~ Hal Erickson, Rovi

Directed by Lawrence Kasdan, this epic version of the legendary western sheriff-gunslinger's life story stars Kevin Costner as Earp, who lived from 1848 to 1929. Growing up on a farm in Iowa, Earp tries to run away to join the Union Army in the Civil War, but he is turned away because of his youth. Instead, he studies law and marries Urilla Sutherland (Annabeth Gish). But Urilla dies of typhoid fever before they can have children. Earp grows despondent and descends into drinking and petty thievery, but his father Nicholas (Gene Hackman) finds him, sobers him up, and sets him straight. Earp becomes a buffalo hunter and a close companion of Bat Masterson (Tom Sizemore) and his brother Ed (Bill Pullman). With his brothers, Virgil (Michael Madsen) and Morgan (Linden Ashby), Earp sets out to clean up the violence-plagued towns of the old West -- by using his own guns to settle scores. Earp takes up with Mattie Blaylock (Mare Winningham), a drug addict and prostitute, then discards her for actress Josie Marcus (Joanna Going). In Tombstone, Arizona, the Earp brothers and their comrade Doc Holliday (Dennis Quaid), who is plagued by tuberculosis and a compulsion for gambling, meet their match in a ruthless gang led by Ike Clanton (Jeff Fahey). ~ Michael Betzold, Rovi

Adapted by screenwriter Rafael Yglesias from his own novel, Fearless explores the complex struggle back to mental health of post-traumatic stress disorder victim Max Klein (Jeff Bridges). One of few survivors of a fatal plane crash, Klein remains calm and assists other survivors out of the burning debris, earning praise as a hero by the media. After stoically departing the tragedy without a word to emergency officials, Max returns home with detached feelings towards his wife (Isabella Rossellini) and son, along with a bizarre, seemingly authentic belief that he is now impervious to harm. Bill Perlman (John Turturro), a psychiatrist for the airline, fails to reach Max about his newfound fearlessness, but asks for his help in aiding Carla (Best Supporting Actress Oscar nominee Rosie Perez), a fellow crash survivor filled with grief and guilt over the loss of her baby. In one of his earlier roles, Benicio del Toro plays a small part as Carla's boyfriend. ~ Lisa Kropiewnicki, Rovi

This made-for-cable version of Arthur Miller's play The American Clock was adapted for television by Frank Galati. Inspired partly by Studs Terkel's oral history Hard Times, and partly by Miller's own recollections, the film is set at the beginning of the Depression. When the stock market crashes, the well-to-do Baumler family (John Rubinstein, Mary McDonnell, Loren Dean) loses everything. The Baumlers are forced to move from their plush penthouse apartment to the less-attractive Brooklyn digs of Mrs. Baumler's sister (Joanna Miles). Twelve-year-old Lee Baumler (Dean), the Arthur Miller counterpart, hits the road to find out how others are coping with the Long National Nightmare. The alternately depressing and uplifting storyline moves along briskly to a surprisingly abrupt climax. Kelly Preston, David Strathairn, Eddie Bracken, Darren McGavin, and Estelle Parson co-star in The American Clock, which premiered over the TNT Cable Network on August 23, 1993. ~ Hal Erickson, Rovi

Director Lawrence Kasdan's Grand Canyon is a gathering of random events, uniting the film's wildly divergent protagonists. Driving home from an LA Lakers game, Mack (Kevin Kline), an immigration attorney, is stranded in an unsavory part of town when his car breaks down. He is rescued from a gang of hoods by Simon (Danny Glover), an African-American tow truck driver, inaugurating a friendship between these two men. Mack offers to repay Simon's kindness by helping his sister (Tina Lifford) find an apartment in a better neighborhood, and by arranging a blind date between Simon and Jane (Alfre Woodard), a friend of Mack's secretary Dee (Mary Louise Parker). Woven into this fabric are the tribulations of Mack's best friend, a pompous exploitation movie producer (Steve Martin), who is later wounded in a robbery similar to the one threatening Mack at the beginning of the film; of Mack's wife Claire (Mary McDonnell), who adopts an abandoned baby, and disenfranchised son Roberto (Jeremy Sisto); and of Simon's nephew (Patrick Malone), who is contemplating joining a street gang. The title is symbolic, referring to the class-imposed chasms which would normally separate the characters. Kasdan co-wrote the screenplay with his wife Meg. ~ Hal Erickson, Rovi

In this drama, a family rallies together to help their amnesiac son remember his life. ~ Sandra Brennan, Rovi

Yes, there are commies under the bed. But are there Nazis there too? Emily Crane (Kelly McGillis) is a modestly successful Life photo editor living in 1950s New York, until she is called before the Senate Un-American Activities Committee to testify about her "communist" associations. When she refuses to divulge the names of friends in her civil liberties group, she loses her employment and her friends. In desperation, she takes a job reading books for Miss Venable, a somewhat crotchety lady (Jessica Tandy) who lives in a quiet residential neighborhood. Then, while taking a break in Miss Venable's back yard, Emily overhears something from the house behind that compels her to investigate and leads her eventually to conclude that it is the headquarters of a group smuggling in ex-Nazi scientists for some mysterious purpose. Meanwhile, she is being harassed by two FBI men, on behalf of the Senate Committee, as well as by a sinister, McCarthyite, Senate investigator named Salwen (Mandy Patinkin). One of the FBI men, Cochran (Jeff Daniels), takes a liking to Emily and humors her by agreeing to investigate her suspicions. This quiet mystery is a nostalgia piece. It's '50s backgrounds are authentic and the plot device -- an innocent becoming entangled in an unbelievable conspiracy -- is closer to one of Hitchcock's masterpieces of that period (e.g., North by Northwest) than to Reservoir Dogs or Speed. The people seem to be from a simpler time, too, when the distinction between good and evil was clearer. Emily shines with idealistic integrity and the naive Cochran is so honest that he finds it impossible to deceive the target of his investigation. There is even a terrifying, "acrophobe's nightmare" scene played out in a dome high above Grand Central Station. For those tired of endless shoot-em-ups and car chases, this is the mystery to choose. ~ Michael P. Rogers, Rovi

Combining electric song and dance performances with drama (both on and off screen), Francis Ford Coppola's The Cotton Club (1984) looks back to the 1920s-1930s peak of the legendary Harlem nightclub where only blacks performed and only whites could sit in the audience. Mixing historical figures with characters loosely based on actual people, Coppola and co-writers William Kennedy and The Godfather's Mario Puzo create a panorama of love, crime, and entertainment centered on the Club. Among them are cornet player Dixie Dwyer (Richard Gere, playing his own solos), who escapes psycho gangster "benefactor" Dutch Schultz (James Remar) for a George Raft-type Hollywood career as a gangster film star; Schultz's nubile mistress Vera Cicero (Diane Lane), who loves Dixie against her mercenary instincts; Cotton Club Mob owner Owney Madden (Bob Hoskins) and close associate Frenchy Demarge (Fred Gwynne); Vincent (Nicolas Cage), Dixie's no-good Mad Dog Coll-esque brother; Club tap star Sandman Williams (Gregory Hines), who woos ambitious light-skinned Club singer Lila Rose Oliver (Lonette McKee); and cameos by Charles "Honi" Coles and Cab Calloway impersonator Larry Marshall. Complementing the period story, Coppola evokes the style of '30s gangster movies and musicals through an array of old-fashioned devices like montages of headlines, songs and shoot-outs. Conceived by producer Robert Evans as his crowning achievement and directorial debut, Evans had to hand over the troubled production to Coppola, but the budget spiraled out of control as the script was repeatedly re-written throughout the chaotic shoot. By the time it was released, The Cotton Club's epic production story of power struggles, financial bloat, and even a murder overshadowed the "reunion" of The Godfather's creative team. Neither a Heaven's Gate-sized failure nor a wallet-saving hit like Coppola's Apocalypse Now, The Cotton Club got some favorable critical notices (although it drew fire for subordinating the African American stories). It did not, however, find a large enough audience to justify its expense and controversy, becoming another mark against 1970s "auteur" cinema in increasingly blockbuster-driven 1980s Hollywood. ~ Lucia Bozzola, Rovi