Jennifer Rubin Movies

Children's book author Meredith Cole (Christine Lahti) works out of her home. In fact, she does everything out of her home: she suffers from acute and debilitating agoraphobia. Recently separated from her husband, Meredith advertises for a boarder; soon afterward, Jane Caswell (Jennifer Rubin) arrives at her doorstep. Later on, Pete (Dylan McDermott), claiming to be Jane's brother, joins the household. When it becomes painfully clear that Pete and Jane are psychotic murderers, Meredith is too terrified to make a bid for escape, or even attempt to summon help. She finally comes out of her shell when the demented couple threaten the life of her young son (Thomas Ian Nicholas). Made for cable, The Fear Inside first aired August 9, 1992 over the Showtime Cable Network. ~ Hal Erickson, All Movie Guide

Val Kilmer delivers what was considered one of 1991's best performances as Jim Morrison in Oliver Stone's hallucinatory bio-pic of the seminal 1960s rock group The Doors. Stone cuts a jagged swath through Morrison's life, starting with a childhood memory where Morrison sees an elderly Indian dying by the roadside. It picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days at UCLA; his introduction to his girlfriend Pamela Courson (Meg Ryan); his first encounters with Ray Manzarek (Kyle MacLachlan); and the origin of The Doors -- made up of Manzarek, Robby Kreiger (Frank Whaley), and John Densmore (Kevin Dillon). As the fame of The Doors grows, Morrison's obsession with death increases. The band grows weary of Morrison's missed recording sessions and no-shows at concerts. Morrison, meanwhile, sinks deeper into a drug-induced haze, having mystical sexual encounters with Patricia Kennealy (Kathleen Quinlan), an older rock journalist involved with sadomasochism and witchcraft. ~ Paul Brenner, All Movie Guide

In this riotous British satire, a conniving Catholic priest convinces a dying tycoon into writing the church into his will by having him add the following proviso: the tycoon's children will only inherit the fortune if one of them can produce an heir within one year after his death. If they fail, all the money will go to the Church. The priest is well aware that the magnate's son is gay and that his daughter is a lesbian. After the ailing fellow signs the will, the priest allows him to die. The two siblings soon find themselves pursued by two aspiring real estate agents who want some of that money for themselves and agree to let the middle-aged siblings adopt them. A voluptuous seductress also has her eye on the family fortune and she tries to sway the brother into giving her a go. ~ Sandra Brennan, All Movie Guide

High school student Alan Boyce has it all: looks, charm, popularity, excellent grades, a promising future. So why does Boyce abruptly commit suicide? As the shock waves of the boy's death reverberate through the halls of his school, the other students--particularly Boyce's best friend Keanu Reeves--ask themselves if they, too, are capable of self-destruction. As for the adults, Boyce's suicide is one more of a myriad of mysteries concerning "Generation X" (though it was not yet so labelled in 1988). While the film offers no easy answers, either for the characters or the audience, Permanent Record ultimately demonstrates that there are ways to cope with the pressures of life other than taking one's own life. An added bonus: the teenagers in the film act like genuine teenagers, not like TV sitcom wisecrackers or oversexed cretins. ~ Hal Erickson, All Movie Guide

The best of the Elm Street sequels, this creepy, surreal fantasy features terrific effects, a fine young cast, and an air of grim fatalism that sets it apart from its giggly successors. Patricia Arquette stars as Kristen, whose nightmare leads to a slashed wrist which looks suspiciously like a suicide attempt. She is placed in a hospital psychiatric ward with a group of six other troubled teens who all dream about the same horribly burned man (Robert Englund) trying to kill them. Perhaps the most unusual thing about this picture, however, is the unexpected depth of sadness running through it. There are some achingly sweet moments in this otherwise frightening film which, though not disruptive, are impossible to analyze. The first and most bizarre of these is Heather Langenkamp's entrance, which inexplicably causes most viewers to get misty-eyed, and there are several similar scenes throughout the film. One answer can be found in the sensitive direction of Chuck Russell, who emphasizes the tragedy and utter hopelessness in these kids' lives and manages to wring some unexpectedly perceptive turns from his cast. This is a film in which a great deal of care was obviously lavished on individual scenes (the sets are outstanding) and performances. The results are well worth repeated viewings, and prove that sequels don't necessarily have to be inferior films. ~ Robert Firsching, All Movie Guide