Novella Nelson Movies

Novella Nelson and Hassan Manning co-star in the American writer-director Caran Hatfield's 15-minute short King. The premise involves an octogenarian in an apartment who devises some extremely eccentric plans. ~ Nathan Southern, All Movie Guide

Detectives Stabler (Christopher Meloni) and Benson (Mariska Hargitay) investigate when the five-year-old son of prominent psychiatrist Brett Morton (Kyle MacLachlan) vanishes from a toy store. Though the most obvious suspect would seem to be the convicted child molester seen hanging around the store just before the boy's disappearance, the trail of clues ultimately leads to the victim's 13-year-old neighbor Jake O'Hara (Jordan Garrett). Despite his youth, Jake proves to be a cunning sociopath, adept at manipulating the detectives and leading them down several wrong paths. Ultimately, however, Jake meets his doom at the hands of someone even more clever--and far more manipulative--than he is. ~ Hal Erickson, All Movie Guide

Judy Berlin allows the audience to take a glimpse of a day at once strange and ordinary with the residents of Babylon, Long Island. Judy (Edie Falco) is an aspiring actress who is quitting her job as a "pilgrim" in a local historical museum's display to take her chances in Los Angeles. Her mother is a gifted but bitter schoolteacher (Barbara Barrie) who has long loved principal Arthur Gold (Bob Dishy) from afar. However, Arthur has a wife, Alice (Madeline Kahn), who's more than a bit eccentric and has driven him to distraction. Arthur and Alice have a son, David (Aaron Harnick), who like Judy has showbiz aspirations (he wants to be a filmmaker), though unlike Judy he has no idea of what to do about it; when Judy and David meet, could romance be lurking around the corner? First-time director Eric Mendelsohn has equipped this offbeat comic drama an outstanding cast, which also includes Julie Kavner, Anne Meara, and Novella Nelson. ~ Mark Deming, All Movie Guide

In this chilling made-for-cable-television outing, the population of the United States is nearly wiped out by a sexually transmitted disease. In order to stop its spread, those infected are sequestered in special camps. To make sure no infected person is allowed to go free, a group of vigilantes begins terrorizing city streets in search of carriers. The story is based on an off-Broadway play by Alan Browne. ~ Sandra Brennan, All Movie Guide

Green Card fuses the template of a light romantic comedy with a classic fish-out-of-water scenario. In order to retain her beautiful rent-controlled Manhattan apartment, a beautiful, socially-conscious American woman (Andie MacDowell) has to be married, so she decides to marry a burly French composer (Gerard Depardieu), who is eager to earn a green card so he can stay and work in America. After the marriage, the couple doesn't live together, but when the government's Immigration agents begin to investigate the pair, they are forced to put up a charade to convince the authorities that they are truly in love. Of course, the charade eventually becomes reality. ~ Stephen Thomas Erlewine, All Movie Guide

Done in a semi-documentary style, this is a discussion of women in menopause which is done in a trendy, 90s style that tends to be preachy, arty and more socially conscious than necessary for the format used. ~ Tana Hobart, All Movie Guide

This by-the-numbers comedy stars Wayne Rogers and Karen Valentine as Alex and Annabelle Grier. Alex is a well-paid ad executive who is laid off during an economic downswing. In order to continue living in the manner to which she he is accustomed, Alex's wife Annabelle decides to look for work. Unfortunately, her practical experience is nil, so Alex labors behind the scenes, training his wife to become a top-drawer copywriter. Inevitably, when Annabelle finally does land a job, it turns out to be a major blow to Alex's ego. Initially titled Paper Castles, this made-for-TV movie was first shown December 18, 1984. TV Guide/Marrill ~ Hal Erickson, All Movie Guide

Directed by Jonathan Glazer, Birth takes place in New York's Upper East Side, where Anna (Nicole Kidman), a 35-year-old widow, resides. Just as Anna has shaken off what she thought were the final remnants of her old life -- she has even found love with a new man, Joseph (Danny Huston), whom she plans on marrying -- Sean (Cameron Bright), a ten-year-old boy, comes into her life insisting that he is the reincarnation of her late husband. Though she initially brushes off the boy's claims as the result of a crush on her, his grave demeanor and uncanny knowledge of her life leads Anna through a self-reevaluation that not only threatens her marital plans with Joseph (Huston), but also strains her relationship with her mother, Eleanor (Lauren Bacall). ~ Tracie Cooper, All Movie Guide

The debut feature from writer/director Lisa Krueger stars Scarlett Johansson and Aleksa Palladino as the titular Manny and Lo, orphaned teenaged sisters who avoid foster homes by living on the run, stealing food, and sleeping in random model homes. Older sister Lo is the rude, bossy, incompetent leader, and younger sister Manny is her thoughtful, realistic, logical underling. It quickly becomes apparent that Lo is pregnant and they won't be able to continue their wandering lifestyle of "keep moving and you won't get nailed." After a significant stage of denial, Lo goes to a hospital for an abortion and is denied. Quickly running out of options, Lo comes up with plan that seems ridiculous to the observant narrator Manny. Since they don't know anything about birthing babies, they kidnap Elaine (Mary Kay Place), a middle-aged woman dressed as a nurse who works in a maternity store. Together, the three women squat in an abandoned house in the woods so the disgruntled Lo can have her baby. Eventually, the owner of the house comes home and the captive Elaine resorts to a strange solution to the problem. ~ Andrea LeVasseur, All Movie Guide

In this independent drama, Vivian Saunders (Elizabeth Pena) comes home one day to an unusual surprise: her boyfriend Reggie (Andrew McCarthy) is lying on the kitchen table with a large sword sticking out of his body. At first Vivian thinks this must be some sort of joke, but she discovers that Reggie is indeed dead, and as she calls her best friend Louise (Paige Turco) to figure out what might have happened and what to do, it occurs to her that she blacked out after too much wine the night before and isn't sure what she did before she passed out. After a few phone calls, Vivian's women's support group arrives, and what to do about Reggie soon takes second place to what Vivian should do for herself. ~ Mark Deming, All Movie Guide

Brian De Palma's Hollywood sanitization of Tom Wolfe's scabrous satire stars Tom Hanks as Sherman McCoy, the "master of the universe," a shallow Wall Street investor who makes millions while enjoying the good life and the sexual favors of Maria Ruskin (Melanie Griffith), a Southern belle golddigger. Sherman and Maria are driving back to Maria's apartment from the airport when Maria takes a wrong turn on the expressway and the two find themselves in the South Bronx. She sees a black youth approaching Sherman's car and Maria, frightened, guns the engine, running over the teenager and killing him. The two drive away and decide not to report the accident to the police. Meanwhile, indigent alcoholic journalist Peter Fallow (Bruce Willis), anxious for a story to make good with his editor, comes upon the hit-and-run tale through local black community activist, Reverend Bacon (John Hancock). Bacon plans to use the hit-and-run case as a rallying point for the black community, while Fallow recognizes the press coverage inherent in prosecuting the callow Sherman. As Sherman is brought to his knees, the New York community fragments into different factions who use the case to suit their own cynical political purposes. Finally, Sherman is left without any allies to support him except for the sympathetic Judge White (Morgan Freeman) and the remorseful Fallow. ~ Paul Brenner, All Movie Guide

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, All Movie Guide