Diane Salinger Movies

Co-written by Paul Reubens and Phil Hartman, Pee Wee's Big Adventure marks the debut of director Tim Burton, who stamps the entire film with his quirky trademark style. The premise: Pee Wee (Reubens), an overgrown pre-pubescent boy sporting a molded Princeton cut, blush, lipstick, and a shrunken gray flannel suit, lives an idyllic life in his bizarre home (some have compared the remarkable set design to the expressionistic The Cabinet of Dr. Caligari) until someone nabs his most prized possession: a fire engine-red customized bicycle. He then embarks on an epic cross-country search to find his lost love, not to mention more than a little adventure. Along the way, he makes friends with various oddball characters, visits the Alamo, endures various hallucinatory nightmares, and has a supernatural run-in with a spectral trucker. In this reprisal of his popular standup routine, Reubens is wonderful as the nerdy man child; he plays it silly, yet he manages to imbue the role with some sensitivity without ever seeming maudlin. The score by Danny Elfman is terrific -- as is the case in nearly every film Burton has directed -- and the script is fresh and inventive. Some of the most memorable moments: the opening sequence involving Pee Wee's morning activities is a stroke of genius (note the bunny slippers and talking breakfast), as are the scenes at the truck stop, and the "Hollywood" version of Pee Wee's story at the end (starring James Brolin and Morgan Fairchild in surprise cameos). In all, Pee Wee's Big Adventure is a delightful film, enjoyable for children as well as adults. ~ Jeremy Beday, All Movie Guide

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, All Movie Guide

Raquel Welch's astonishing performance in the made-for-TV Right to Die compensates for any number of script deficiencies. Ms. Welch plays a successful psychologist with a happy home life who is suddenly stricken with the dreaded neurological affliction ALS (aka "Lou Gehrig's Disease"). At first, she is determined to fight for her life, but as her conditions deteriorates and she becomes more of a human vegetable, Ms. Welch begs her husband (Michael Gross) to help her die. The producers of Right to Die chose Raquel Welch not so much for her resemblance to the real-life person upon whom the story is based, but in the hopes that this "offbeat" piece of casting would attract a large TV audience. Ms. Welch accepted the role to counter industry accusations that she was impossible to work with. Thus the motivations behind Right to Die were more commercially oriented than the film's subject matter deserved, but this can be excused in the light of Welch's harrowingly accurate portrayal of a woman literally dying by inches before our eyes. ~ Hal Erickson, All Movie Guide

In this detective yarn, an amiable investigator finds himself entangled with mobsters after he tries to help a woman who is apparently having a run of bad luck. ~ Sandra Brennan, All Movie Guide

Woody Allen's character study of a well-kept, upscale Manhattan woman (Mia Farrow) takes the title character on a journey through a Wonderland of her own making, in which she learns some truths about herself, her relationships, and the universe in general. Alice leads a comfortable life, except for some nagging aches and pains, but when she visits the mysterious Dr. Yang (Keye Luke), he discovers that what really ails Alice is her own lack of true human experience. Alice has been married for sixteen years to Doug (William Hurt), an emotionally detached stockbroker, and she lives a perfectly maintained life in a perfectly maintained apartment, with a pair of children and the requisite support staff. All that changes when a chance meeting with a neighbor (Joe Mantegna) leads Alice to consider an affair. Dr. Yang, seizing the opportunity, gives Alice herbal potions that make her both invisible and seductive, allowing her to free herself from her inhibitions. Plunging into her new fantasy world, Alice ultimately comes to terms with her family, her husband, and her life. ~ Don Kaye, All Movie Guide

As a clairvoyant, Demi Moore awaits signs from beyond that her true love, whomever he may be, is waiting for her, somewhere. When New York butcher George Dzundza shows up on the tiny North Carolina island where Demi lives, she is convinced that he is the man predestined to be her husband. After the wedding, Demi moves into George's blue-collar neighborhood, where she successfully commisserates with such eccentrics as withdrawn teenager Max Perlich, frustrated singer Mary Steenburgen, unlucky-in-love actress Margaret Colin, over-analytical psychiatrist Jeff Daniels, and lesbian Frances McDormand. As Demi helpfully tries to chart the destinies of her new friends, she fails to notice that Dzundza is falling in love with Steenburgen. Though there are many traumatic detours along the way, Demi's psychic talents have very positive effects on at least one of the characters. ~ Hal Erickson, All Movie Guide

When a private detective takes on a missing person assignment trying to find an Italian aristocrat's uncle, she discovers a conspiracy of murder and drugs. ~ Tana Hobart, All Movie Guide

For sheer abject self-indulgence this side of an Eric Schaeffer movie, one need look no further than the films of Henry Jaglom. Jaglom's vanity productions require an intense Stalin-like loyalty to the filmmaker and his films going in, otherwise a viewer is lost. So when, in Venice/Venice, Henry Jaglom appears as a filmmaker named Dean at the Venice Film Festival, there promoting a film resembling a Henry Jaglom film, a viewer must give himself up to the force or walk out of the theater. Dean is the kind of pretentious Hollywood type who likes to wear his heart and his distribution contract on his sleeve, so when adoring European journalist Jeanne (Nelly Alard) inexplicably smiles at him the right way, filmgoers will come to understand why the film business is so attractive to wimpy film geeks. Jeanne and Dean fall in love and take a walking tour of Venice, but Jeanne pays no attention to the city, since she religiously hangs on every word Dean has to say regarding love, films, and destiny. Since there are more pearls of wisdom to be gloaned from this Bel-Air Gandhi, Jeanne willingly follows Dean back to Venice, California. Realizing that she has already spent too much time basking in the brilliance of Dean's sun, Penny (Melissa Leo), Dean's California girlfriend, obligingly offers to pack up and leave when she sees Dean returning to Southern California with Jeanne in tow. When Henry Jaglom talks, they all listen. ~ Paul Brenner, All Movie Guide

A metal sculpture created by artist Kim Mitchell (Loretta Swit) proves quite versatile when it used as a murder weapon. The victim is Philip Jovi (Edward Hibbert), an art gallery owner with whom Kim did not see eye-to-eye. Fortunately for Kim, her friend Jessica (Angela Lansbury) is on hand to help her beat a murder rap...maybe. ~ Hal Erickson, All Movie Guide

Simone (Jimmy Smits) confronts Russell (Kim Delaney) over her drinking, then tries to protect John Irvin (Bill Brochtrup) and his lover from gay-bashing fellow cops. An unexpected "witness" surfaces in a serial-killing case. And in off-duty matters, altar-bound Sipowicz (Dennis Franz) asks Simone to be his best man, while Medavoy's wife (Deborah Taylor) wants a reconciliation for their children's sake -- much to the dismay of Donna (Gail O'Grady). ~ Hal Erickson, All Movie Guide

Nathaniel Hawthorne's classic novel of hypocrisy among America's pilgrims was brought to the screen by director Roland Joffe in this 1995 feature. Demi Moore stars as Hester Prynne, a new arrival to the Massachusetts Bay Colony in 1666. Prynne, who interacts freely with slaves and Quakers and wears revealing garb, is something of a free thinker and off-putting to the uptight locals. She awaits the arrival of her husband, Roger (Robert Duvall), but he is reported killed. One person who does not find Prynne unsettling is the new preacher, Arthur Dimmesdale (Gary Oldman). A torrid encounter between them produces a child, Pearl, and Hester is condemned by the colony, forced to wear a scarlet letter "A" (for "adultery"). Roger reappears; he had been living with a native tribe -- an experience that has driven him mad. He masquerades as "Roger Chillingsworth," trying to discover the identity of Pearl's father. When Hester is about to be executed, Dimmesdale confesses, but a timely Indian raid intervenes, saving him and Hester. The Scarlet Letter was widely derided by critics for sexualizing and changing Hawthorne's novel to an absurd degree. ~ Karl Williams, All Movie Guide

Simply switch on the nightly news and you will see that the media has become increasingly intrusive into the lives of people involved in extraordinary circumstances. What is the true impact of the omnipresent camera upon those circumstances? How does it change the existence of those living beneath a publicly broadcast microscope? This provocative drama takes the notion of the intruding camera a step further to follow the machinations of a determined documentary filmmaker who chooses an ordinary man on the street for the subject of her latest probing film. In following her attempts to chronicle even the most intimate details of his mundane existence the film offers a double character portrait, not only of the victim himself, but also of the disaffected (and but for her hands, unseen) filmmaker who is unable to relate to life without the barrier of a hand-held camera to protect her. ~ Sandra Brennan, All Movie Guide

A toxic benzine spill in the ER waiting room forces the evacuation of all the patients. With Weaver (Laura Innes) suffering the ill effects of the spill, Carter is placed in charge of the "exodus." Meanwhile, Corday (Alex Kingston) goes on an EMT ridealong, ultimately risking her life to treat Leo Lepziger (Joey Perillo), whose arm is trapped in the rubble of a collapsed building. This episode won an Emmy award for Best Sound Editing. ~ Hal Erickson, All Movie Guide