David Strathairn Movies

College friends reunite for a New England summer weekend in this low-budget first feature by accomplished independent filmmaker John Sayles. A predecessor of the well-paced, character-driven films in Sayles' future, Secaucus Seven also looks ahead to the 1980s ensemble movies that it inspired, most notably Lawrence Kasdan's The Big Chill, which arrived in theaters three years later. As each friend arrives at the house (or travels to the house), characterizations build, dialogue expands, and the house (and film) are full of people getting reacquainted and re-examining themselves and each other. Sayles builds the plot by testing the characters' connections: Will these former radicals accept the uptight boyfriend of the well-loved politico? What happens when a couple splits up? How does the educated set treat the local blue-collars? Many critics cited Secaucus Seven in their decade-end list of the best films of the 1980s. ~ Norm Schrager, All Movie Guide

Based on a true story, Silkwood begins and ends with Karen Silkwood (Meryl Streep) driving along a lonely road in 1974, heading to a meeting with a New York Times reporter to deliver evidence of negligence at the Kerr-McGee Plant in Cimarron, Oklahoma. The balance of the film flashes back to Karen's ribald private life with her lover (Kurt Russell) and her loose-living friends (Cher and Diana Scarwid). This is in contrast to her humdrum job at Kerr-McGee--or it least it was humdrum until Karen and several other employees become contaminated by radiation. The higher-ups want to sweep this incident under the rug, but Karen thinks that something's fishy, and informs the union of that fact. X-rays of the faulty fuel rods and written proof of the inadequate safety measures that caused Karen's illness are tampered with, forcing Karen to conduct her own private investigation. As she gathers evidence, Karen becomes a pariah to her boyfriend because of her obsession. She finally organizes the evidence into a briefcase, and heads off to her meeting with the Times reporter. She never makes it; the "official" report on her fatal auto accident is that Ms. Silkwood had been drinking and was under the influence of tranquilizers. Kerr-McGee was eventually forced to pay the Silkwood family an enormous settlement because of her contamination, but the full facts behind her convenient accident have never been revealed (though the filmmakers clearly indictate whom they hold responsible). Director Mike Nichols and screenwriters Nora Ephron and Alice Arlen surround this true story with a lively, improvisational atmosphere that gets the best out of Streep, Russell, and Cher, while providing perhaps the fullest on-screen realization of Nichols' theater-based techniques of realistic, character-centered, dialogue-driven filmmaking, as well as one of the first movie screenplays from future director Ephron. ~ Hal Erickson, All Movie Guide

Filmmaker John Sayles' first bonafide box-office success, Brother from Another Planet centers on a black escaped slave from a faraway planet (Joe Morton) who finds himself on the mean streets Harlem. Though the locals are put off by the slave's inability to speak, they are won over by his technical wizardry. He is adopted as a "brother" by his new friends, who protect him from pursuing white aliens played by director Sayles and David Strathairn. ~ Hal Erickson, All Movie Guide

In the wacky satire When Nature Calls, an urban family moves to the country in order to get back to nature. Set as a film within a film, the movie mocks a number of film and television cliches with an exaggerated glee; it also features cameos from a number of celebrities. ~ Stephen Thomas Erlewine, All Movie Guide

Independent filmmaker John Sayles creates one of his more artistic works with this period feature about a volatile 1920s labor dispute in the town of Matewan, West Virginia. Matewan is a coal town where the local miners' lives are controlled by the powerful Stone Mountain Coal Company. The company practically owns the town, reducing workers' wages while raising prices at the company-owned supply and grocery. The citizens' land and homes are not their own, and the future seems dim. When the coal company brings immigrants and minorities to Matewan as cheaper labor, union organizer Joe Kenehan (Chris Cooper) scours the town to unite all miners in a strike. As the crisis grows, strikers and their families are removed from their homes by two coal company mercenaries (Kevin Tighe and Gordon Clapp, both also featured in Sayles' Eight Men Out (1988)), and the situation heads toward a final shootout on Matewan's main street . Sayles' simple but telling screenplay brings to light the treatment of immigrants and minorities in the early 20th century South, and it draws sharp parallels between the Matewan labor battle and the Civil War some 50 years earlier. The visual feel of the film is real West Virginia backwoods, with much of the credit going to legendary cinematographer Haskell Wexler, whose warm, rustic lighting belies the anxiety and terror felt by the oppressed townspeople. ~ Norm Schrager, All Movie Guide

In Call Me a lonely, frustrated journalist for an alternative newspaper begins receiving intriguing erotic telephone calls, calls which trigger her own fantasies and leads her into danger. Anna (Patricia Charbonneau) is having an affair with Alex (Sam Freed), who travels frequently and has little time for her. She meets an interesting stranger named Jellybean (Stephen McHattie) in a local bar and begins to believe that he might be the source of the erotic calls. As the calls increase in frequency and become more explicitly sexual, Anna finds herself increasingly aroused and interested. Call Me, despite a sometimes contrived plot, is well-directed by Sollace Mitchell who uses her strong cast to explore the outer-limits of sexual desire and obsession. Charbonneau is excellent as Anne, and Patti D'Arbanville as her friend Con gives a refreshing, relaxed and convincing performance. Steve Buscemi, one of the finest contemporary character actors, gives one of his usual satisfying performances as the creepy Switch Blade who menaces Anne. The film's "surprise" ending will surprise only the most unsophisticated viewer, but the film, because of its great cast and excellent direction is a fresh, exciting thriller with an interesting twist. ~ Linda Rasmussen, All Movie Guide

Though a fine cast was assembled for this comedy, none can save this embarrassingly humorless satire. Henderson Dores (Daniel-Day Lewis) is a very proper British art expert sent to rural Georgia by his boss to purchase a painting by Renoir. The present owner, hillbilly Loomis Gage (Harry Dean Stanton), claims he bought the painting for $500 in France in 1946. Dores offers $10 million, but Gage's scheming son Freeborn (Maury Chaykin) has made a deal with a rival art dealer for $15 million. Steven Wright plays Dores' business rival Pruitt with his typical deadpan charm, and Joan Cusack and Laurie Metcalf provide romantic interest. Tea and crumpets collide with moonshine and cornbread in this feature, but the results are unpalatable. ~ Dan Pavlides, All Movie Guide

Based on a novel by Thomas Berger, The Feud is a lampoonish look at 1950s manners and mores. There is no love lost between the neighboring communities of Milville and Hornbeck. This is largely due to the animosity between two large and demonstrative families: the Bullards and the Bealers. In the tradition of the Hatfields and McCoys (and also Laurel and Hardy), minor irritations slowly escalate into all-out warfare. The humor is very dark at times, sometimes bordering on the "sick": this is Norman Rockwel as filtered by Hieronymus Bosch. Because the actors play their roles in a broad, slapsticky manner, The Feud is liable to turn off as many viewers as it attracts, but that's the peril of being a "cult film." ~ Hal Erickson, All Movie Guide

Unabashedly sentimental, this war film was produced by David Putnam in partnership with Catherine Wyler, whose father William Wyler directed an acclaimed documentary about the real-life events depicted in the film. The ensemble cast is composed of ten young actors portraying the crew of the World War II B-17 bomber "Memphis Belle," anticipating their 25th and last mission before they will be able to go home. Having won fame with their exemplary war record and amazing lack of casualties, they expect their final assignment to be a cakewalk, but instead they are ordered to bomb Bremen, a heavily defended German city that will mean almost certain loss of life. Led by their experienced captain, Dennis Dearborn (Matthew Modine), the crew shoulders its responsibility despite mounting fears, while their commanding officer (David Strathairn) and a public relations specialist (John Lithgow) wait anxiously for their return. Aboard the bomber, there's friction between Dearborn and his disgruntled co-pilot Luke Sinclair (Tate Donovan), and between medical officer Val Kozlowski (Billy Zane) and the rest of the crew when it's learned that Val lied about his qualifications. Despite impressive technical credits and a popular Generation-X cast, Memphis Belle (1990) was a box-office disappointment, its enthusiastic patriotism considered a throwback to a bygone era of filmmaking. ~ Karl Williams, All Movie Guide

There oughta be a law against TV-movie "title thinker uppers." Lethal Innocence is not a crime or judicial melodrama, but instead an innocuous family-oriented effort about a Cambodian refugee child. Adopted by an American couple, the child presses her new family to bring the rest of her Cambodian relatives to US shores. The film boasts some good work from Blair Brown as the foster mother and Brenda Fricker as an efficient UN representative. Lethal Innocence was originally made for cable. ~ Hal Erickson, All Movie Guide

Woody Allen's black-and-white curiosity piece is a mixture of influences -- from German silent film expressionism to Franz Kafka's nightmare worlds to the contemporary fables of Wim Wenders. Woody Allen plays the nebbish clerk Kleinman (in a throwback to his characters from Sleeper and Love and Death), who is awakened in the middle of the night by a vigilante group who want him to help capture a serial killer on the loose. Kleinman reluctantly agrees, but when he gets to the street, the vigilantes are gone and Kleinmen spends most of the film wandering the shadowy back alleys in search of the citizen's brigade. Meanwhile, a circus is in town. When sword-swallower Irmy (Mia Farrow) catches her creepy clown husband (John Malkovich) getting familiar with trapeze artist Marie (Madonna), she packs her bags and heads for town, where she meets up with Kleinman. This meeting sets up a number of plot lines that has Irmy befriending a trio of prostitutes (Jodie Foster, Lily Tomlin and Kathy Bates) at the local brothel and accepting $700 from a university student (John Cusack) who wants to sleep with her. She finally meets up with her husband, and they then find an abandoned baby which they decide to raise as their own. ~ Paul Brenner, All Movie Guide

Based on the Willa Cather novel, this Hallmark Hall of Fame telefilm stars Jessica Lange as Alexandra Bergson, a single woman who inherits her family farm, much to the dismay of her siblings. ~ Jason Ankeny, All Movie Guide