Brooke Smith Movies

In the expatriate-littered Paris of the 1920s, painter Nick Hart (Keith Carradine) mingles with Ernest Hemingway (Kevin O'Connor) and other leading lights of the Lost Generation while palling around with gossip columnist Oiseau (Wallace Shawn), whose reportage has helped establish the international reputation of the writers and artists who fled America for France after WWI. Older and less successful than many of his fellow painters, Hart relies on gallery owner Libby Valentin (Genevieve Bujold) to sell what she can of his work while he supports himself drawing cartoons for Oiseau's weekly column. In a café one day, Hart spies Rachel Stone (Linda Fiorentino) on the arm of her husband, Bertram (John Lone), a condom magnate and art patron who's trying to buy his way into society. It seems Hart and Rachel share a romantic past of which Stone is completely unaware. At the salon of writers Gertrude Stein (Elsa Raven) and Alice B. Tolkas (Ali Giron), Hart suffers a nasty run-in with the Stones and meets Nathalie de Ville (Geraldine Chaplin), a rich socialite who wants to steal three paintings from her estranged husband. Nathalie plies Hart with sexual favors and the promise of cash in exchange for his help in forging copies of the paintings. Although he's loath to follow in the footsteps of his father, a gifted forger, Hart acquiesces, and soon his rivalry with Stone and his involvement with the forgeries leads to death, destruction, and scandal in the art world. Bujold, Shawn, Chaplin, and Carradine are all regular collaborators of iconoclastic director Alan Rudolph, who filmed The Moderns in Montréal and would go on to lens the similarly intellectual Mrs. Parker and the Vicious Circle. ~ Brian J. Dillard, Rovi

In this multiple Oscar-winning thriller, Jodie Foster stars as Clarice Starling, a top student at the FBI's training academy whose shrewd analyses of serial killers lands her a special assignment: the FBI is investigating a vicious murderer nicknamed Buffalo Bill, who kills young women and then removes the skin from their bodies. Jack Crawford (Scott Glenn) wants Clarice to interview Dr. Hannibal Lecter (Anthony Hopkins), a brilliant psychiatrist who is also a violent psychopath, serving life behind bars for various acts of murder and cannibalism. Crawford believes that Lecter may have insight into this case and that Starling, as an attractive young woman, may be just the bait to draw him out. Lecter does indeed know something of Buffalo Bill, but his information comes with a price: in exchange for telling what he knows, he wants to be housed in a more comfortable facility. More important, he wants to speak with Clarice about her past. He skillfully digs into her psyche, forcing her to reveal her innermost traumas and putting her in a position of vulnerability when she can least afford to be weak. The film mingles the horrors of criminal acts with the psychological horrors of Lecter's slow-motion interrogation of Clarice and of her memories that emerge from it. ~ Mark Deming, Rovi

Two people fall in love without meeting -- and discover a wealth of complications when they try to get together -- in this romantic comedy. Even though he's about to be married, Brian McVeigh (Kevin Anderson) doesn't want to give up his old apartment, where he can swill beer, scarf pizza, and be as much of a slob as he wants. He decides to hold onto his flat as a weekend clubhouse, but he rents it out to other people during the week. Brian's new tenants, sharing the place on alternating days, are Sam (Matthew Broderick), an aspiring gourmet chef who's just been dumped by his spacey girlfriend Pastel (Jeanne Tripplehorn), and Ellen (Annabella Sciorra), who is stuck in an unhappy marriage and wants a place to work on her art. Ellen mistakenly assumes that Brian is the guy who leaves her gourmet snacks and admiring notes about how much he likes her paintings, and when she sets up a liaison with Brian, she wonders how the seemingly perfect man could be such a loser in person. The Night We Never Met also features Justine Bateman as Brian's fiancée and Christine Baranski as Ellen's best friend. ~ Mark Deming, Rovi

In the late 1980s, noted theatrical director Andre Gregory assembled a group of friends and actors and began rehearsing a new translation of Anton Chekhov's Uncle Vanya by David Mamet, not with any specific performance in mind but as a way of exploring the beauty and precise construction of Chekhov's play. Louis Malle, a friend of Gregory's, became interested in the project and spent two weeks filming Gregory's actors as they performed Uncle Vanya without an audience in a run-down theater near New York's Times Square. In these performances, the line between theater and real life is blurred as conversations between actors -- juggling take-out cups of coffee and wearing street clothes -- slowly grow into a superb performance of Chekhov's classic, with Wallace Shawn as Vanya, Julianne Moore as Yelena, Brooke Smith as Sonya, and Larry Pine as Dr. Astrov. With a certain sad irony, this marvelously realized adaptation of a play about people wondering what they've done with their lives proved to be Louis Malle's final film; he died of cancer in 1995. ~ Mark Deming, Rovi

A legendary theatrical family gather for one final show at their East Hamptons estate in this verbose comedy-drama. Swedish actress Viveca Lindfors takes center stage as Helena, the family matriarch, who has made the difficult decision to sell the estate due to financial problems. A mixed group has come for what will be the last of the family's annual summer performances, a gathering that naturally brings conflicts and rivalries to the surface. Much of the trouble centers on Oona (Victoria Foyt), a financially successful Hollywood actress seeking artistic approval from such theatrical colleagues as avant-garde director Ivan (André Gregory) and gay playwright Jake (real-life dramatist Jon Robin Baitz), who each has difficulties of his own. As in all of writer/director Henry Jaglom's films, the focus is on conversation over action, as the various characters share personal torments and debate their individual philosophies. The talky, intellectual dialogue will be seen by some viewers as witty and perceptive and by others as pretentious and slow-moving. Regardless of one's opinion of Jaglom's idiosyncratic style, Last Summer in the Hamptons is distinguished by the presence of Lindfors in her final film, giving a career-capping performance that addresses the problems of older actresses and looks back fondly on the star's own history. ~ Judd Blaise, Rovi

Timothy Landfield guest stars as Ron Weber, an unemployed ad executive whose drinking has ruined his career. When his wife and son are murdered and his daughter is wounded, Weber claims to know nothing of the tragic event, insisting he was out boozing on the night it occurred. As the D.A.'s office sets about to prove that Weber is an inherent "family annihilator," new evidence suggests that someone else committed the crime. ~ Hal Erickson, Rovi

This independently produced film, The Broken Giant, depicts the almost affectless life and loves of an eccentric, unpopular preacher in a very remote Maine country community. Ezra Caton (Will Arnett) is the minister with a somewhat drab life, and he is not unhappy to see it disrupted when he grants a young woman, Clio, "asylum" in his church sanctuary. She is on the run from her father for reasons which are unclear. What is clear is that she diverts the preacher's affections from his waitress girlfriend to herself. The two of them then go back to Clio's father's house, where they then have a marathon discussion with her aggrieved father. ~ Clarke Fountain, Rovi

Julie A. Lynch made her directorial debut with this low-budget indie, an AIDS drama set in 1992 NYC, where three women -- promiscuous artist Josie Ray (Christine Harnos), stand-up comic Jennifer Sharp (Brooke Smith), and MBA student Elaine Devlin (Amy Ryan) -- learn their old college chum Chris Goodman (Garret Dillahunt) is hospitalized with complications from HIV. Awaiting word, they drink, talk, and compare past sexual histories. As sexual secrets surface, Josie attempts to get together with her ex, Matt Devlin (Bill Sage), Elaine's brother. Shown at the 1998 Toronto Film Festival. ~ Bhob Stewart, Rovi

Two people who've known the pain of loss and the sting of betrayal are brought together under trying circumstances in this romantic drama. Dutch van den Broeck (Harrison Ford) is a police detective based in Washington D.C. whose wife works for an upscale department store; flying to Miami on business, she dies shortly after takeoff in one of the worst aviation disasters in the city's history. However, Dutch finds out that his wife wasn't actually traveling on business: Kay Chandler (Kristin Scott Thomas) is a prominent political figure whose husband was also killed in the crash, and Dutch and Kay discover that their spouses were on the plane together because they were having an affair. Random Hearts was directed by Sydney Pollack, who also worked with Harrison Ford on his previous film, Sabrina. ~ Mark Deming, Rovi

Dignified Oscar-winner Anthony Hopkins tries the buddy action-comedy on for size with this typically slick and bombastic offering from producer Jerry Bruckheimer. Hopkins stars as Gaylord Oakes, a CIA spy attempting -- along with his partner, Kevin Pope (Chris Rock) -- to secure a suitcase-sized nuclear bomb in Prague from a Russian black marketer (Peter Stormare). Just as the partners discover that another bidder for the device exists, they are ambushed and Pope is killed trying to protect Oakes. Desperate for the bomb's owners and their attackers to believe that Pope is still alive so that the deal can commence in ten days time, Oakes recruits his late partner's long-lost twin, ticket-scalping chess hustler Jake Hayes (also played by Rock), a small-time criminal who never knew he had a brother. Offered a sizable payday and the admiration of his student nurse girlfriend, Hayes agrees to undergo vigorous training and dangerous situations as he impersonates his brother and helps Oakes to remove the nuclear threat, but the new partners clash in every way possible, from personal discipline to musical taste. Meanwhile, the assassin of the real Kevin Pope sends another cadre of killers after the agent he believes is still alive. Bad Company co-stars Kerry Washington, Garcelle Beauvais-Nilon, Gabriel Macht, and Matthew Marsh. ~ Karl Williams, Rovi

While Woody Allen has long fused comedy and drama in his films, he embraces the two styles in a new and unusual way in this feature. Sy (Wallace Shawn) is enjoying dinner with some friends when they begin debating the nature of the tragic and the humorous. Sy, observing that a very fine line separates the two, decides to demonstrate this notion by showing how the same essential story can be either funny or sad depending on the way certain elements are handled; for the rest of the film, we jump back and forth between two versions of the story of Melinda (Radha Mitchell), a young woman with some serious problems in her life. In the tragic version, Melinda crashes a dinner party thrown by old friends Laurel (Chloë Sevigny) and Lee (Jonny Lee Miller). When she arrives, Melinda is distraught and under the influence of pills and alcohol, much to the annoyance of Lee, an actor hoping to impress a producer who is one of his guests. After a bad breakup with her husband, Melinda lost custody of her children and came to New York City, where she became involved with Ellis Moonsong (Chiwetel Ejiofor), a handsome and well-mannered composer whose promises to her proved to be worthless. Meanwhile, on the funny side of town, Melinda shows up dazed and confused at the home of Susan (Amanda Peet) and Hobie (Will Ferrell), who are in the midst of a dinner party. Learning about the sad state of Melinda's love life after divorcing her husband and losing custody of her children, Susan decides to play Cupid and fix her friend up with a well-to-do dentist. However, neither Susan nor Melinda are aware that there is another man deeply interested in the troubled divorcée -- Hobie. Melinda and Melinda also features Josh Brolin, Vinessa Shaw, and noted theatrical director Gene Saks. ~ Mark Deming, Rovi

In the first half of Grey's Anatomy's two-part Season Two finale, Christina (Sandra Oh) is placed in charge of the ER just as several tense situations reach the crisis stage. It looks as if heart-transplant candidate Denny (Jeffrey Dean Morgan) won't survive the night unless George (T.R. Knight) acts quickly; Derek races against time to safe the life of gunshot victim Burke; and Webber (James Pickens Jr.) tries to make a dying girl's dream come true--a particularly poignant moment, in that the girl is his own niece. And on the romantic scene, Callie (Sara Ramirez) demands to know how George really feels about her, while Derek and Addison (Kate Walsh) reach yet another crossroads. In keeping with the "ensemble" feel of this busy episode, the offscreen narration, traditionally the responsibility of Meredith (Ellen Pompeo), is handled by virtually everyone in the cast! ~ Hal Erickson, Rovi