Bill Sage Movies

African-American mime artist Charles Lane directed and starred in this ultra-low-budget film. Lane plays a Chaplinesque homeless individual with a talent for sidewalk chalk art, who finds himself caring for an abandoned baby. The child's father has been killed in a robbery, so Lane begins a long, lonely search for the kid's next of kin. What little dialogue there is comes from the mouths of the multitude of oddball characters with whom Lane comes in contact while he roams the streets of New York. ~ Hal Erickson, All Movie Guide

Writer-director Hal Hartley's first feature -- shot in less than 12 days in his backyard for a mere $200,000 -- is a dry and dark comedy about the dangerous undercurrents that exist below the surface of normal middle class existence. Over the credits, Josh (Robert Burke), a man garbed in black, is seen hitch-hiking back to his Long Island home. People ask him, "Are you a priest?" and Josh responds, "No. I'm a mechanic." Back in Long Island in the town of Lindenhurst, beautiful and somber 17-year-old Audry (Adrienne Shelly) is busy worrying about the forthcoming apocalypse. Josh arrives in Lindenhurst and is hired by Audry's father (Chris Cooke) as a mechanic at his garage. But Audry's father worries about him, particularly when he falls in love with Audry. Her father's problems compound when Audry dumps her old boyfriend and rejects an invitation to attend Harvard. The whole town is now gossiping about Audry's new boyfriend, with rumors spreading that Josh is a mass murderer who killed two members of the family of local waitress Pearl (Julia McNeal). Pearl tells Audry, "He seems like a nice man." Audry responds, "Even though he killed your father and your sister?" Audry finally makes her father happy when she tells him she won't see Josh again, but dad's relief is short-lived when Audry informs him she's moving to New York to become an underwear model. ~ Paul Brenner, All Movie Guide

Theory of Achievement, a short film by director Hal Hartley, is a droll look at a group of young Brooklynites grappling with the great issues: aesthetics, romance, and real estate. Bob, a broke, aspiring writer, takes advantage of his girlfriend's absence to enter the real estate business. He sublets her apartment to a group of struggling artists, convincing them that Williamsburg, Brooklyn is destined to be "the new art capital of the world." Amongst the tenants are Hartley regulars William Sage and Elina Lowensohn, portraying a couple arguing over the husband's refusal to quit his uninspiring job and follow his dream of becoming a songwriter. Bob and the tenants bond in their mutual poverty and ennui, discussing art, drinking beer, and playing the accordion. All is well, until Bob's girlfriend returns to town early and discovers his scheme. The short is one of three made by Hartley in 1991, along with Ambition and Surviving Desire. All are available on a single videocassette. ~ Judd Blaise, All Movie Guide

In this psychological thriller, a songwriter seeks a psychiatrist's help after his obsession with his best friend's wife turns to chilling fantasies of murder. The poor composer is so consumed by thoughts of her that he begins losing his ability to discern reality from fantasy. Unfortunately, the doctor only worsens matters. A wild party brings matters to a climax. ~ Sandra Brennan, All Movie Guide

A lover, an ultimatum, a phone call, and a gun: these elements are found in each segment of Hal Hartley's Flirt, an experimental comedy-drama that essentially repeats the same story three times. But while the basic narrative remains the same -- a congenital flirt must decide whether or not to commit to a current lover, who otherwise will marry someone else -- the details differ greatly, from the location of the film to the gender of the participants. The initial segment, set in New York, tells the tale with a male flirt in turmoil over his relationship with a woman. The film then moves to Berlin, where the same drama is played out amongst a gay male couple, with an added touch of self-reflexive humor. The third and final episode takes place in Tokyo, with a female flirt and a more abstract cinematic approach, including several sequences in traditional Japanese pantomime. ~ Judd Blaise, All Movie Guide

Old and new loves are turned upside down through a complex case of mistaken identities in this romantic comedy-drama. In 1980, Juan Raul Perez (Alfred Molina) is released from a Cuban prison after spending 20 years behind bars and is allowed to join a mass emigration to the U.S. While Juan was incarcerated, his wife Carmela Perez (Anjelica Huston) escaped to Florida with their daughter, and Juan lives for the day when they can be reunited. En route to Miami, Juan meets Dottie Perez (Marisa Tomei), a fiery young woman who wants to leave behind her career as a prostitute. Juan and Carmela miss finding each other when his boat reaches Miami, and immigration personnel mistakenly assume that Juan and Dottie Perez are husband and wife; when they learn that families tend to find American sponsors much faster than individuals, they play along with the mistake, even convincing other Perezes to pose as their child and grandfather. Juan discovers that trying to renew an old relationship isn't easy as one tries to start a new life, especially since Carmela has attracted the attentions of police lieutenant John Pirelli (Chazz Palminteri). Cuban jazz legend Arturo Sandoval contributed to the soundtrack. ~ Mark Deming, All Movie Guide

Boys is a coming-of-age tale about an addled prep school student who nurses a woman back to health after an accident and becomes involved in her cryptic past. John Baker Jr. (Lukas Haas) is a tormented high school senior outcast who's weary of his upper-crust boarding school life and dreads his future as a supermarket chain manager. When he finds Patty Vare (Winona Ryder) unconscious in a field after being thrown from a horse, Baker sees this as an opportunity to break out of his humdrum existence, and he smuggles her into the school to take care of her. The relationship blooms into a somewhat bizarre love affair, as John discovers that Patty is concealing a mysterious secret involving a missing baseball player and a stolen car. Although the film takes a little time to get started, what originates as an analysis of guarded youths making foolish judgments evolves into a celebration of adolescent insurrection. ~ Don Kaye, All Movie Guide

An award-winner at the 1997 AFI/Los Angeles Film Festival, this low-budget drama follows the misadventures of drifter Billie (Edie Falco), who ditches her motorcycle and picks up a car. The vehicle is hit by another car, and she can't collect from the other driver (Andrew Lowery). Instead, she settles into a marginal existence in an impoverished fishing village where she takes on odd jobs while camping out with a local resident (Caitlin Clarke) and contemplating a bleak future. ~ Bhob Stewart, All Movie Guide

Lisa Cholodenko wrote and directed this lesbian-themed drama, winner of the 1998 Sundance Film Festival's Waldo Salt Screenwriting Award. Ambitious photography magazine associate editor Syd (Radha Mitchell) has a ho-hum relationship with James (Gabriel Mann). Investigating a ceiling leak, she enters the apartment of her neighbor, retired photographer Lucy Berliner (Ally Sheedy), who lives with former Fassbinder actress Greta (Patricia Clarkson), a heroin addict. The friendship between the worldly Lucy and the naive, insecure Syd ripens into an affair, one destined to change the lives of both women. ~ Bhob Stewart, All Movie Guide

Jonathan (Kevin Corrigan) is a computer expert who is a bit shy and lonely, though he's recently begun courting a schoolteacher named Judy (Amy Ryan). One night, Jonathan encounters a Latina prostitute named Roberta (Daisy Rojas), whom he's convinced he knew as a child. Jonathan is immediately obsessed with Roberta, though not for sex, which she finds more puzzling than reassuring. Jonathan soon moves Roberta into his apartment, begins teaching her office skills, even asking Judy to help take care of her. Roberta is not sure what to make of Jonathan's improvement program, her short-tempered pimp is decidedly unhappy with this arrangement, and Jonathan's friends try to convince him he's making a mistake. This socially and politically charged melodrama was shown in competition at the 1999 Sundance Film Festival. ~ Mark Deming, All Movie Guide

One of the most talked-about movies of the 2000 Sundance Film Festival, this film, directed by Jon Shear, recalls the edgy, aggressively-political qualities of early '90s queer cinema such as Poison (1991) and Swoon (1991) -- and throws in a few nods to Martin Scorsese's late-night New York City odyssey film After Hours (1985) for good luck. Dashing young yuppie Charlie (Dan Futterman) is losing control of his life after the loss of his longtime companion Chris (Matt Keeslar). Alone in his apartment, he can hear his upstairs neighbors (Bill Sage and Megan Dodds) engage in noisy lovemaking that leaves him lonely, frustrated, and aroused. He wanders the neon-drenched streets of Manhattan at night as if he were a wraith. Later, at a bar with the amorous couple, the trio get into a loud, ugly argument about public displays of affection. Around this same time, Charlie notices a mysterious, tattooed stranger, and the two exchange looks. Intrigued, Charlie sets out looking for the man, and in the process, he launches himself on a nightmarish journey through the underside of New York. He happens upon an increasingly odd array of people, each telling progressively more bizarre tales that are purportedly true. German actress Barbara Sukowa appears in a cameo in which she tells Charlie of a sexual tryst she had in a bar's restroom. Alan Cumming appears as a friend who has a crush on Charlie, while Lothaire Bluteau plays a stammering bum. Soon reality and fiction, straight and gay all fuse and blur in Charlie's increasingly troubled psyche. ~ Jonathan Crow, All Movie Guide

Stephen Kinsella directs this family comedy-drama about a single mom looking for a job and her son's slow slide to the streets. Rita Ronaldi (Callie Thorne) ekes out a living as a waitress until she is unceremoniously canned. Tough-minded but unskilled, she faces an uphill fight to find a job to support her and her teenaged son Matt (Rufus Read). Pudgy, bespectacled, and asthmatic, Matt is struggling himself, especially after he comes under the sway of local riff-raff Bret (Noah Fleiss), who loves sex, drugs, and leading helpless teens astray. Soon Matt worships Bret, and he descends into a life of criminality. ~ Jonathan Crow, All Movie Guide

Bret Easton Ellis' dark and violent satire of America in the 1980s is brought to the screen in this unsettling drama with black comic overtones. Patrick Bateman (Christian Bale), the son of a wealthy Wall Street financier, is pursuing his own lucrative career with his father's firm. Bateman is the prototypical yuppie, obsessed with success, fashion, and style. He is also a serial killer who murders, rapes, and mutilates both strangers and acquaintances without provocation or reason. Donald Kimble (Willem Dafoe), a police detective, questions Bateman about the disappearance of Paul Allen (Jared Leto), whom Patrick murdered several days earlier. As Kimble stays on Bateman's trail, Bateman's mask of studied, distant cool begins to fall apart. American Psycho also features Reese Witherspoon as Bateman's girlfriend, as well as Samantha Mathis, Chloe Sevigny, and Guinevere Turner; the latter also co-authored the screenplay. Controversy followed the production from the start, when speculation that Leonardo Di Caprio would play Bateman sparked concerns that he would lure preteens to an R-rated movie. Di Caprio soon bowed out of the project, and original leading man Bale was reinstated. Later, a group of Toronto residents attempted to block filming in that city after Canadian serial killer Paul Bernardo claimed that Ellis' novel inspired his murder spree. ~ Mark Deming, All Movie Guide