Lisa Pelikan Movies

The bizarre career of New Zealand filmmaker Sam Pillsbury had veered from the sci-fi weirdness of The Quiet Earth to the Cajun spice of Zandalee to the mawkish Free Willy 3 without ever really demonstrating a consistent vision. This made-for-cable horror-western anthology is the most confused work Pillsbury has ever done, starring Bruce Dern as a bounty hunter who gets frostbitten, cuts off his own toe, and talks to an outlaw's corpse. His attempt to track down the outlaw is the rough link behind this senseless mess adapted from some fairly good short stories. It still might have some allure for a surprising cast including Andrew Robinson (the killer from Dirty Harry), Helen Hunt, and Dylan McDermott. The most annoying segment has Mariel Hemingway as an eccentric woman who may or may not be under siege by wolves in her isolated home on the prairie. It's sometimes reminiscent of Mad at the Moon, an even more annoying prairie-set wolf tale. For genre completists, Lisa Pelikan from Ghoulies shows up, and co-writer Dick Beebe went on to pen the superior remake of House on Haunted Hill and the uneven Book of Shadows: The Blair Witch Project 2. ~ Robert Firsching, All Movie Guide

Lois Nettleton guest stars as Ginny Blanchard, who is accused of killing her abusive husband, wealthy business executive and dilettante polo player Clark Blanchard (Chad Everett). When it becomes clear that the long-suffering Ginny is not about to defend in court, her friend Jessica (Angela Lansbury) sets about to prove her innocence. Inasmuch as the late Mr. Blanchard would never have qualified for a "mister nice guy" award, the suspect list is a daunting one, including Blanchard's mistress (Lisa Pelikan) and his stepson (Hank Stratton). ~ Hal Erickson, All Movie Guide

This episode is a followup to the previous week's offering, in which Jessica (Angela Lansbury) had renewed her friendship with former Air Force pilot Lee Goddard (Dale Robertson). Invited to visit Lee's ranch in Arizona, Jessica attends a party where a psychic named Franchesco (David Birney) is guest of honor. Much to the dismay of Lee's daughter-in-law Jill (Lisa Pelikan), two of Franchesco's grim predictions come true--and his third prediction has Jill meeting a horrible demise in a fire! Complicating matters is a murder and a kidnapping, obliging Jessica to cut her vacation short and go into full "detective" mode. ~ Hal Erickson, All Movie Guide

Joe Dante's box-office fantasy Gremlins had barely left American cinemas before Charles Band's B-movie factory, Empire Pictures, rushed out this cheap knockoff. While Dante's film benefited from the director's wry sense of humor and the high-concept clout of executive producer Steven Spielberg, Band's tawdry little creature feature boasts lower production values than a high-school haunted-house fundraiser. The title monsters are a pack of obnoxious demons -- enacted by a handful of rubber dolls covered with KY jelly -- summoned up by the metaphysical shenanigans of college student Jonathan Graves (Peter Liapis) after he discovers his late father's occult paraphernalia at the family estate. Jonathan later invites a group of annoying friends to participate in an all-night party, during which he intends to perform an elaborate parlor trick -- actually a satanic ritual through which he hopes to acquire his father's supernatural powers. This doesn't sit well with Dad, who bursts violently from his grave (a nice touch) to have a chat with his wayward son while legions of ghoulies (well, four or five, anyway) descend upon the revelers. Considering the entire production revolves around the antics of the ghoulies themselves, the alleged puppetry involved is laughable -- the inarticulate puppets do little more than open drooling mouths full of pointy teeth before offscreen stagehands fling them at the heads of cast members. The film's main points of interest lie with the supporting cast, which includes Bobbi Bresee as a supernatural seductress (sporting an eight-foot tongue!) and Eraserhead's John Nance as a bizarre gardener. Somehow, this became one of Empire's top moneymakers, spawning no less than three sequels. ~ Cavett Binion, All Movie Guide

Director Jonathan Demme made one of his more conventional movies with Swing Shift, an examination of life on the American home front during WWII. Goldie Hawn, who also served as the film's producer, stars as Kay, a woman who takes a job on the line at a plant producing war planes after her husband goes off to fight in Europe. One of her coworkers is her best friend Hazel, played by Christine Lahti, whose performance earned an Oscar nomination and a New York Film Critics award. Kay falls in love with another coworker, Lucky (Kurt Russell), who couldn't enlist because of a weak heart. Kay's husband Jack (Ed Harris) comes home on leave and finds out that his wife has betrayed him. Lucky then decides to pursue Hazel, driving a wedge between the two best friends. ~ Michael Betzold, All Movie Guide

A young girl's dangerous dance with dieting leads to near disaster in this exceptional made-for-television drama. In one of the earliest treatments of the subject, Jennifer Jason Leigh stars as Casey Powell, the quiet daughter of an overbearing mother and milquetoast father. Feeling pressure to be the good girl of the family after her troublesome older sister gets pregnant, Casey retreats into her secretive world of self-starvation. When arguing fails to produce results, her parents (Charles Durning and Eva Marie Saint) send her to a hospital where she meets a spunky fellow patient (Melanie Mayron) and a caring therapist (Jason Miller). Casey's road to recovery is not as simple as merely eating though, and she and her family realize that together they must confront the deeply-rooted familial issues that lay at the heart of Casey's affliction. Jennifer Jason Leigh is utterly compelling in the lead role. ~ Bernadette McCallion, All Movie Guide

Adapted from the once-notorious trilogy of novels by James T. Farrell, the three-part miniseres Studs Lonigan isn't quite as earthy and explicit as its source, but is lot more faithful to the original than the 1960 film version. Set in Chicago and covering the years from 1916 to 1931, this is the story of a brawling, braggadocio young Irish-American lad named Studs Lonigan (played as a child by Dan Shor, and as an adult by Harry Hamlin in his first major TV role). Despite his rough veneer, Studs is sensitive and concerned about his future, though he doesn't want to follow the values set forth by his tradition-bound parents (Charles Durning, Colleen Dewhurst). Hanging around with his childhood buddies, Studs gets into all sorts of scrapes and becomes involved with a number of women, notably the decent, demure Catherine (Diana Scarwid) and the lusty, libidinous Lucy (Lisa Pelikan). Though he grows in age and size, Studs has trouble maturing emotionally, surrounded by the pressures of a rough, prejudice-ridden neighborhood and the increasing hooliganism of his cronies. As the Depression crashes heavily upon the scene, Studs finds himself "trapped" in the very sort of middle-class quagmire that he'd always hoped to avoid. Earning an Emmy Award for art/set direction, the 6-hour Studs Lonigan originally aired March 7, 14 and 21, 1979, as part of NBC's Novels for Television anthology. ~ Hal Erickson, All Movie Guide

We're not sure who the gentlemen are in this TV movie adaptation of Nora Ephron's Perfect Gentlemen, but there's no doubt as to the identity of the ladies. The plot revolves around three convict's wives. Sandy Dennis owns a bankrupt deli; Lisa Pelikan is pregnant and broke; and Lauren Bacall (in her TV movie debut) is the wealthy wife of an incarcerated labor leader, who has just learned that her husband was cheating on her. Teaming up, the three ladies plan to steal the million dollars that was supposed to secure the release of Bacall's errant hubby. Along for the ride is Lisa Pelikan's mother-in-law Ruth Gordon, a veteran safecracker. Perfect Gentlemen sags a bit a midpoint, but overall is good underhanded fun. ~ Hal Erickson, All Movie Guide

Jennifer, directed by Brice Mack is an uninspired, low-budget rip-off of Brain De Palma's far superior Carrie but also borrows a bit from Ben and Willard. Jennifer (Lisa Pelikan) is an outcast student who gets her revenge on her classmates at the exclusive "Greenview School for Girls." Jennifer is able to communicate with snakes and calls them to do her bidding, particularly when she gets her revenge on an especially obnoxious popular blonde fellow student. Jennifer, also released as Jennifer (The Snake Goddess), has little to recommend it even for the most fervent horror fan, but it has a few moments, and Lisa Pelikan gives an appealing performance as Jennifer. TV fans will note game-show host Bert Convy in one of the lead roles. ~ Linda Rasmussen, All Movie Guide

The film traces the lifelong relationship between playwright Lillian Hellman and Julia, a wealthy girl who turns her back on her upbringing to follow her ideals. In the 1930s, while the adult Hellman (Jane Fonda) struggles to establish herself as a playwright with the help of her lover, Dashiell Hammett (Jason Robards), Julia (Vanessa Redgrave) battles the exigencies of the Nazi regime. Visiting Julia in Germany, Lillian realizes how much her friend's idealism has cost her, both physically and financially. Lillian is asked by Julia's friend Johann (Maximilian Schell) to smuggle a large sum of money from Paris to Germany, the better to combat the Nazis from within. Nominated for 11 Academy Awards, including Best Picture, Best Director, and four acting awards, Julia won for Alvin Sargent's screenplay and Robards' and Redgrave's performances, leading to Redgrave's infamous "Zionist hoodlums" acceptance speech. ~ Hal Erickson, All Movie Guide

I Want to Keep My Baby is a cautionary TV movie starring Mariel Hemingway as a pregnant 15-year-old girl. She is pressured by her mother (Susan Anspach) to keep her baby, despite the warnings of a social worker (Rhea Perlman) that the girl is emotionally and financially unable to care for the child. Taking a defiant attitude, Hemingway insists upon setting herself up as a single parent. It is only after a few harrowing months of unassisted motherhood--and a brief temper flare-up in which Hemingway comes dangerously close to injuring her child--that the girl bows to logic and puts the baby up for adoption. I Want to Keep My Baby would have been more effective without such melodramatic setpieces as a rape attempt and a chance encounter between the girl and a pair of adoptive parents. ~ Hal Erickson, All Movie Guide