Fran Bennett Movies

Nanci Rossov directs this cross-cultural drama about captured Native Americans enrolled in a turn of the century "Negro" college. The film opens with Richard (Chuma Hunter-Gault) and Cleola (Tembi Locke) announcing their engagement. Though the college prides itself on its integrationist philosophy, the sharp-witted Cleola soon chafes under Richard's and the school's patronizing attitudes toward women. Meanwhile, three Lakota braves are accepted into the school at the behest of a U.S. Army officer who wants to prove that Indians can function in mainstream culture. The trio's reluctance to participate is more and more pronounced as their upwardly mobile Black classmates antagonize them with racial asides. Unbowed won Best Feature at the 1999 American Indian Film Festival. ~ Jonathan Crow, Rovi

Greene (Anthony Edwards), Weaver (Laura Innes), and Doyle (Jorja Fox) argue over the treatment of a drunken woman who tried to kill her unborn child. Jeanie (Gloria Reuben) is surprised by the benign attitude of Al (Michael Beach) after he serves her divorce papers. And Lydia's (Ellen Crawford) marriage is over before it begins. This episode introduces Kirsten Dunst as Charlie, a teenaged dope addict -- and also (for the time being) bids farewell to Sherry Stringfield as Susan Lewis. ~ Hal Erickson, Rovi

While visiting her deaf son in boarding school a widowed author meets a new man and everything in her life changes. This made-for-television drama is based on a novel by Danielle Steel. ~ Sandra Brennan, Rovi

Veteran horror director Wes Craven was responsible for the hit 1984 film A Nightmare on Elm Street, which introduced the character of Freddy Krueger. After Craven sold the rights to his character, Krueger became filmdom's top grossing monster, with five sequels by 1991. In this post-modernist horror film, Craven plays himself, a filmmaker working on a script for a movie that seems to be spinning out of control. Also playing himself, as well as playing his customary character Krueger, is Robert Englund. The original teenage hero of the first Nightmare film, Heather Langenkamp, also plays herself. She is still haunted by Freddy dreams, but Craven convinces her to make another Krueger film to exorcise her demons. Unfortunately, her son Dylan (Miko Hughes) is being taken over by Freddy himself, who materializes and kills Dylan's beloved nanny, Julie (Tracy Middendorf). Dylan, possessed by the evil spirit, escapes from the hospital and tries to cross a freeway with his mother in pursuit. Craven finds that his character has literally become a creation out of his control. ~ Michael Betzold, Rovi

Frequent TV-movie costars Stephanie Zimbalist and Gregory Harrison are teamed once more in Breaking the Silence. Harrison plays a lawyer defending a teenager (Chris Young) accused of murdering his father. As the boy details a lengthy history of abuse at the hands of his father, Harrison flashes back to his own miserable childhood. Zimbalist costars as Harrison's law partner (and former lover), who must not only contend with mounting an adequate defense for their client, but also must come to grips with her bitter childhood memories. Breaking the Silence first aired January 14, 1992. ~ Hal Erickson, Rovi

Star Trek: The Next Generation inaugurated its fifth season with the conclusion of the fourth-season cliffhanger. The situation remains the same as in part one, with the Klingon Empire on the brink of a civil war. The source of the unrest is the Duras family, who Captain Picard suspects is in cahoots with the dreaded Romulans. Risking an apocalyptic war and sorely testing his friendship with his former Klingon officer Worf, Picard orders a Federation blockade on the Klingon/Romulan border. The former Next Generation regular who appeared in part one is again on hand, this time with full screen credit. Written by Ronald D. Moore, part two of "Redemption" first aired September 28, 1991. ~ Hal Erickson, Rovi

After another run-in with the Tanners, ALF runs away from home. He is offered a place to stay by Willie's brother Neal (JM J. Bullock), who quickly learns to regret his hospitality. If ever a TV series episode can be described as an out-of-this-world version of The Odd Couple", this is it--and just guess which character is Felix and which is Oscar? ~ Hal Erickson, Rovi

In this excellent thriller, crisply directed by Sidney Lumet, Alex Sternbergen (Jane Fonda), a washed-up, alcoholic actress who never quite made it, wakes up one morning in an unfamiliar, luxurious loft apartment, only to find the corpse of a stranger next to her in bed. Alex can remember nothing of the night before. In a panic, she tries to flee but is unable to get a flight out of Los Angeles, and short of cash, she hitches a ride with Turner Kendall (Jeff Bridges), a disabled former policeman who happens to be fixing his car in the airport parking lot. Alex tries to get rid of Turner and returns to the loft which she cleans in a futile attempt to get rid of her finger prints. Turner continues to take an unappreciated interest in Alex and keeps turning up unexpectedly, much to her annoyance. Finally, desperate and on the run, and never sure that she didn't commit the murder, Alex allows Turner to help her. Alex also confides in and is helped by her ex-husband and friend Joaquin Manero (Raul Julia), the only man she completely trusts. Despite Alex's suspicion of Turner, she slowly falls in love with him. The movie quickly moves to a surprising conclusion, and creates a good deal of suspense, particularly when Alex is confronted with a corpse that just won't stay put. The highlight of the film is the performance by Jane Fonda reminiscent of her magnificent performance as Bree Daniels in Klute. The Morning After never rises to the quality of Klute, but Fonda's performance was strong enough to earn her an Oscar nomination. ~ Linda Rasmussen, Rovi

Physically, the gangling, long-necked Jeff Goldblum is all wrong for the role of fabled TV comedian Ernie Kovacs (1919-1962) but you tend to forget this as Goldblum expertly reenacts some of Kovacs' most famous comic bits. No Kovacs bio would be complete without such scenes as the mustachioed, cigar-chomping Ernie delivering a radio broadcast while lying on a railroad track with a train rapidly approaching, or Kovacs "celebrating" the cancellation of his TV series by smashing up the set in full view of the home audience. As the title indicates, much of the film takes place between the laughs, as Kovacs desperately struggles to reclaim his children, who have been kidnapped by his emotionally disturbed ex-wife (Madolyn Smith) in the midst of an acrimonious custody battle. Melody Anderson plays Kovacs' second wife, singer Edie Adams, while the real Edie appears in a cameo as Mae West. Cloris Leachman tears a passion to tatters in the role of Ernie's outrageous Hungarian mother. Our favorite bit: Jeff Goldblum and Melody Anderson recreating Ernie's lisping, perpetually soused poet Percy Dovetonsils. Ernie Kovacs: Between the Laughter was first telecast May 14, 1984. ~ Hal Erickson, Rovi

Violation of Sarah McDavid is a surprisingly explicit TV movie concerning the undercurrent of violence in a purportedly "good" high school. Patty Duke Astin is a new teacher at Benjamin Harrison High, where the GPA is high but where sadism and brutality amongst the students is the order of the day. Ms. Astin is able to maintain an even keel until, at the end of one school day, she is raped. Assuming she will be backed up in her accusations by the school administration, the teacher discovers that the principal (Ned Beatty), more concerned with image than with justice, wants to sweep the rape incident under the rug. As Astin struggles to make her complaint public, the film touches upon such hot-potato subjects as executive incompetence and the culpability of a "don't ask don't tell" public. The rape scene in Violation of Sarah McDavid is graphic enough to make the viewer feel nearly as degraded as the victim. ~ Hal Erickson, Rovi

George Stevens' sprawling adaptation of Edna Ferber's best-selling novel successfully walks a fine line between potboiler and serious drama for its 210-minute running time, making it one of the few epics of its era that continues to hold up as engrossing entertainment across the decades. Giant opens circa 1922 in Maryland, where Texas rancher Jordan "Bick" Benedict (Rock Hudson) has arrived to buy a stallion called War Winds from its owner, Dr. Horace Lynnton (Paul Fix). But much as Bick loves and knows horses, he finds himself even more transfixed by the doctor's daughter, Leslie Lynnton (Elizabeth Taylor), and after some awkward moments, she has to admit that she's equally drawn to the shy, laconic Texan. They get married and Leslie spends her honeymoon traveling with Jordan to his ranch, Reata, which covers nearly a million acres of Texas. Once there, however, she finds that she has to push her way into her rightful role as mistress of the house, past Bick's sister, Luz (Mercedes McCambridge), who can't accept her brother's marriage or the changes it means in the home they share. Also working around Reata is the laconic ranch hand Jett Rink (James Dean) -- from a family as rooted in Texas as the Benedicts but not nearly as lucky (or "foxy"), Jett is dirt-poor and barely educated at all, and he fairly oozes resentment at Bick for his arrogance, although Luz likes him and for that reason alone Bick is obliged to keep him on. One thing Jett does have in common with his employer is that he is in awe of Leslie's beauty; another is his nearly total contempt for the Mexican-Americans who work for them -- Jett and Bick may have contempt for each other, but either one is just as likely to dismiss the Mexican-Americans around them as a bunch of shiftless "wetbacks." Luz feels so threatened with a loss of power and control that she decides to assert herself with War Winds, yet another "prize" that Bick brought back from Maryland that resists her authority -- then decides to ride the stallion despite being warned that no one but Leslie is wholly safe on him, and spurs him brutally in an effort to break him, which ends up destroying them both in the battle of wills she starts.

After Luz's death, Jett learns that she left him a tiny piece of land for his own, on Reata, which he refuses to sell back to Bick, preferring to keep it for his own and maybe prospect for oil on it. Meanwhile, Leslie and Bick have their own problems -- Leslie can't abide the wretched conditions in which the Mexican families who work on Reata are allowed to live, taking a special interest in Mr. and Mrs. Obregon and their baby, Angel; but Bick doesn't want his wife, or any member of his family, concerning themselves with "those people." Leslie's humanity and her independence push their marriage to the limit, but Bick comes to accept this in his wife, and in four years of marriage they have three handsome children, a boy and two girls, and a loving if occasionally awkward home life. Meanwhile, Jett strikes oil on his land -- which he's named Little Reata -- and in a couple of years he's on his way to becoming the richest man in Texas, getting drilling contracts on all of the land in the area (except Reata) and making more money than the Benedicts ever saw from raising cattle. Bick is almost oblivious to the way Jett grows in power and influence across the years and the state, mostly because he's got his own family to worry about, including a son, Jordan III (Dennis Hopper), who doesn't want to take over the ranch from him, but wants instead to be a doctor; an older daughter, Judy (Fran Bennett), who wants to study animal husbandry and marry a local rancher (Earl Holliman) and start a tiny spread of her own; and a younger daughter, Luz (Carroll Baker), who's just a bit man-crazy and star-struck by the movies.

The American entry into the Second World War and the resulting need for oil forces Bick to go into business with Jett and allow him to drill on Reata, and suddenly the Benedicts are wealthy enough to be part of Jett Rink's circle, which includes the governor of the state and at least one United States senator at his beck and call -- and Luz develops a serious crush on Jett, who likes his women young and is especially attracted to her, as Bick's and Leslie's daughter. Young Jordan marries Juana, a Mexican-American nursing student (Elsa Cardenas), and his father accepts it begrudgingly, with help from Leslie. The war kills Angel Obregon (Sal Mineo), a death that even affects Bick, but the Benedict family gets through it wealthier than ever and grows some more with the birth of Jordan IV to Jordie and Juana. When the family attends a gala opening of Jett Rink Airport, which concludes with a dinner honoring Jett's success, however, young Jordan's wife is humiliated by Jett's racist edicts, and he is beaten up by Jett's men after punching the oil baron. Seeing this, Bick challenges his old rival to the fight that's been brewing for a quarter of a century and wins by default, Jett being too drunk to defend himself or to hit; he's also too drunk to make the grand speech that was to climax the celebration, and he ends up alone in the ballroom. The Benedicts have it out with each other, young Jordan accusing his father of being as much a racist as Jett, and Leslie caught in the middle between her husband and her son. It looks like the Benedicts may lose each other, until an encounter with a racist diner owner forces Bick to stand up and get knocked down (more than once) defending his daughter-in-law and his grandson.

Seen today, Giant seems the least dated of any of James Dean's three starring films, in part because it addresses issues that remain relevant more than 50 years later, and also because it has the best all-around acting and the best script of any of the three. Taken in broader terms, it's even better, with two of the best performances that Elizabeth Taylor and Rock Hudson ever gave, and perhaps the second best of Hudson's whole career (after Seconds) -- the only unfortunate element at modern theatrical screenings is the tendency of younger viewers, who only know him in terms of the revelations late in his life of his being gay, to laugh and snicker at elements of Hudson's characterization; but his work is so good that the titters usually fade after the first 30 minutes or so. ~ Bruce Eder, Rovi

The Feds investigate a counterfeit ring operating out of a traveling circus in this 12-part Republic crime serial. ~ Jonathan Crow, Rovi