James Remar Movies

In this made-for-cable thriller, an unstable woman (Jennifer Beals) is drawn into the web of a scheming co-worker and the estranged husband (James Remar) of her boss. When her boss turns up the victim of a supposed suicide, things just don't quite add up. ~ Jason Ankeny, Rovi

Originally made for cable-television, this thriller centers on the attempts of an innocent teenage girl to prove that the boy she has her eye upon is not a ruthless serial killer. ~ Sandra Brennan, Rovi

This western chronicles the exploits of former Civil War hero Zach Hollister, who became an outlaw after the war. He eventually became a deputy sheriff. ~ Sandra Brennan, Rovi

In Randal Kleiser's entertaining adaptation of Jack London's classic novel White Fang, Ethan Hawke plays Jack Conroy, a young man who travels to Alaska with the intent of finding his father's lost gold mine. During the course of his travels, he's accompanied by a big white wolf that he rescued from a professional dog fight promoter. Conroy and the wolf, which he names White Fang, have a number of adventures and make a few enemies on their way to finding the gold mine. ~ Stephen Thomas Erlewine, Rovi

A rich businessman, his wife and son are involved in illegal transactions as Kojak investigates. ~ Rovi

Night Visions is a serial-killer-at-large TV movie starring James Remar and Loryn Locklin. Remar portrays the tough LA cop on the case. Ms. Locklin is a psychic, engaged by the police in a desperate effort to ferret out the killer. Unfortunately the psychic borders on the psychotic; her visions seem tinged by her own miserable past experience--and by the fact that she has multiple personalities. This reasonably original premise rapidly dwindles down to predictability; its happy ending was dictated by the fact that the film was the pilot for an unsold series. Night Visions was directed by Wes Craven, who was required by network edicts to tone down the gleeful gore which permeated his Nightmare on Elm Street films. ~ Hal Erickson, Rovi

In exchange for clearing Duell McCall's name, the cowboy's assistance is needed in locating the murderer of the sheriff's wife. ~ Rovi

The eponymous team consists of four residents of a New Jersey psychiatric hospital: ex-postal worker Henry Sikorsky (Christopher Lloyd), who fancies himself a doctor; one-time ad agency exec Jack McDermott (Peter Boyle), suffering from a Messiah/martyr complex; writer Billy Caulfield (Michael Keaton), who cannot abide the "idiots" in the world (namely, everyone but himself); and TV-obsessed Albert Ianuzzi (Stephen Furst). Permitted a field trip to a baseball game, the four unfortunates wander off when psychiatrist Dr. Weitzman (Dennis Boutsikaris) is waylaid by two corrupt police officers after he witnesses them killing a third cop. The innocent inmates are accused of attacking Dr. Weitzman, but it is they who team up to bring the actual culprits to justice. ~ Hal Erickson, Rovi

Former Starsky and Hutch star Paul Michael Glaser warmed the director's chair for Band of the Hand. The film zeroes in on five juvenile delinquents who are plucked from their various detention facilities and unceremoniously dumped in the wilds of the Everglades. The boys begin to panic until hardcase Vietnam veteran Stephen Lang arrives. Lang explains that they've been paroled in his custody, and that it is his task to teach them how to work as a team in order to survive. The logic of this plan is to whip the boys into an elite vigilante unit, then sic them on the various drug dealers of America. The film features early performances by Lauren Holly and Larry Fishburne and Bob Dylan can be heard singing the title song. ~ Hal Erickson, Rovi

Cinematographer Michael Chapman directed this John Sayles adaptation of Jean M. Auel's best-selling ode to Cro-Magnon women. The story begins at the moment in pre-history when the last of the Neanderthal men were becoming extinct and the superior race of Cro-Magnons were starting to supersede them. Focusing on a tribe of wandering Neanderthals who adopt a young girl named, Ayla (played as an adult by Daryl Hannah). She grows tall, lithe, and smart. The Neanderthals quickly accept her into their tribe, but once a tribal member, Ayla begins to question the tribe's male chauvinistic presumptions. Unable to conceive of why only men are given weapons, she takes it upon herself to learn how to use a slingshot. She then questions the tribe's assumptions concerning sexual politics. She learns to count and becomes the assistant to the local medicine expert. As the seasons wear on, the tribe utilizes Ayla's knowledge for their own good while Ayla's continues to try the patience of the tribe with her unspeakable feminist demands. ~ Paul Brenner, 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