Lionel Mark Smith Movies

David Mamet wrote the screenplay for this adaptation of his play about a man who suddenly stumbles into a new and dangerous life. Edmond Burke (William H. Macy) is on his way home from work one evening when he impulsively stops to have his fortune read by a woman who informs him, "You are not where you belong." When he does arrive home, Edmond soon falls into an argument with his wife (Rebecca Pidgeon), and he storms out into the city, where he stops at a bar for a few drinks. There, Edmond finds himself talking with a man (Joe Mantegna) who freely shares his racist views about the role of African-Americans in society, and suddenly Edmond begins letting go of the sense of self-control that has always governed his actions. After a crawl through the city's underbelly of watering holes, strip clubs, gambling dens, and brothels, Edmond comes face to face with the violence of this world, and unexpectedly finds himself responding in kind. Edmond also stars Julia Stiles, Denise Richards, Mena Suvari, Bai Ling, and Dylan Walsh; it was directed by Stuart Gordon, who worked often with David Mamet during their early days at Chicago's Organic Theater Company. ~ Mark Deming, Rovi

The Strike Team has been turned loose again, and immediately pays dividends. Shane (Walton Goggins) gets shot at while the team tries to bust a gang member, but it leads them to a massive money-laundering operation. Vic (Michael Chiklis) convinces Aceveda (Benito Martinez) to let Danny (Catherine Dent) go undercover to help the team nab Louis (Dominic Hoffman), the head of the operation. Shane continues to defend Mara (Michele Hicks) despite all the trouble her theft has caused. Vic tells him, "She's gonna be gone in a couple of months." Vic has another tryst with Lauren (Natalie Zea), but she refuses to leave her boyfriend, because he has threatened to commit suicide in the past. Vic and Corrine (Cathy Cahlin Ryan) begin to suspect that their youngest daughter is also autistic. Dutch (Jay Karnes) is granted a lengthy interview by the "cuddler rapist" suspect, William Faulkes (Clark Gregg), who confesses to his crimes. He and Dutch have a philosophical discussion about why he raped and murdered those elderly women, which turns out to be frustrating for both of them. This episode was directed by playwright/filmmaker David Mamet, and features a guest appearance by his wife, Rebecca Pidgeon. ~ Josh Ralske, Rovi

Echoing the themes of Living in Oblivion and Irma Vep, David Mamet's seventh feature centers on the havoc wrought on the inhabitants of a small town by a troubled film production. After its leading man's propensity for teenage girls gets them banished from their New Hampshire location, a film crew relocates to the small town of Waterford, VT, to finish shooting "The Old Mill." As its title suggests, the film depends on the presence of a genuine mill, something the town is reported to possess. Unfortunately, with only days before principal photography begins, it becomes apparent that the mill in fact burned down decades ago. Unfazed, the film's director, Walt Price (William H. Macy), places his faith in the ability of first-time screenwriter Joseph Turner White (Philip Seymour Hoffman) to alter the script; what he doesn't count on is White's apparently bottomless reserve of angst-fueled writer's block. The film's leading lady (Sarah Jessica Parker) refuses to do her contracted nude scene unless she's give an ungodly sum of cash, while a foreign cinematographer offends the locals by messing with an historic firehouse, and the leading man, Bob Barrenger (Alec Baldwin), dallies with Carla (Julia Stiles), a crafty local teen. Everything comes to a head after Barrenger and Carla are injured in a car accident, which leads White to another emotional quandary and into the arms of Ann Black (Rebecca Pidgeon). ~ Rebecca Flint Marx, Rovi

Police Capt. Adam Greer (Dennis Farina) needs some new cops who can go where other cops can't. Greer finds three young people on their way to jail: Lincoln Hayes (Omar Epps), the black one, is up for arson; Pete Cochrane (Giovanni Ribisi), the white one, is up for robbery; and Julie Barnes (Claire Danes), the blonde one, is up for assault. The three are given a choice: go to jail, or become a special undercover unit that will infiltrate L.A.'s underbelly and bring down the drug dealers and parasites that are preying on the young. Their only rules: no badges, no guns, and no turning in other kids. This "mod squad" encounters a major problem when a cache of drugs disappears from the police evidence locker. All clues point to dirty cops, while the cops want to close ranks and blame the new kids. With their first big case, the squad realize they'll receive no help from the L.A.P.D. and must solve it their own way. ~ Ron Wells, Rovi

During a home invasion, a wife and baby are killed, but the husband is only wounded. Smelling a rat, Simone (Jimmy Smits) and Sipowicz (Dennis Franz) work hand in hand with retired cop Gotelli (Carmine Caridi), now an insurance investigator, to determine if the husband arranged the killings to collect a hefty life-insurance policy. Also, Harvey Boutier (Dick Anthony Williams), a terminally ill friend of Lt. Fancy (James McDaniel), shows up at the precinct with new information on a 15-year-old murder case. And finally, the squad investigates the beating death of a widely despised record-company CEO. ~ Hal Erickson, Rovi

In this high-tension thriller, Christopher Reeves plays Dempsey Cain, a paralyzed detective (ironically, it was filmed a year before the tragic accident that would make him a quadriplegic) whose arrogance and penchant for perfectionism has alienated his family to the point that his wife Gail (Kim Cattrall) turns to his brother Nick (Edward Kerr) for love. Nick is also a cop, but unlike Dempsey, he tends to be irresponsible and sloppy. It was he who was responsible for Dempsey's paralysis. Dempsey knows that Nick and Gail are trysting. This coupled with his disability makes life unbearable. Wanting to end his life, but knowing that his million-dollar life insurance policy will not cover his suicide, he approaches Nick and Gail with the perfect solution -- to murder him and make it look like a burglary. Dempsey plans his demise to the nth degree. Unfortunately, despite his careful scheming, Dempsey makes one fatal flaw -- he did not include his suspicious, resentful and jealous colleague Allan Rhinehart (Joe Mantegna) into the equation and things go horribly awry. ~ Sandra Brennan, Rovi

Perhaps it was his collaborator Shel Silverstein who said to screenwriter David Mamet "Lighten up. Do a comedy." Whatever the case, Things Change was a welcome change of pace for Mamet, both as scenarist and director. Don Ameche also goes against his usual grain by playing a downtrodden Chicago shoeshine boy (if one can call an 80-year-old a "boy") who is arrested for a crime he didn't commit. Not having much of a future anyway, Ameche has agreed--for a hefty sum--to take the rap for a gangland rubout. Mob henchman Joe Mantegna is assigned to keep an eye on Ameche over the weekend to make sure he doesn't try to weasel out of his agreement. Mantegna has been ordered to remain in Ameche's Lake Tahoe hotel, but the young guy takes a liking to the old loser. Like Jack Nicholson in The Last Detail, Mantegna takes Ameche on one last fling around Nevada. The location photography is terrific, and Ameche even more so. One would like Things Change to be equally as good, and while it never comes up to its potential, it remains a pleasant means to while away 100 minutes. ~ Hal Erickson, Rovi