Jim Walton Movies

Garret Williams made his directorial debut with this tale of an urban black couple trapped in a desert town of rednecks. Byron (Terrence Howard) and Nina (Nicole Ari Parker) are driving a BMW from Chicago to L.A. when they experience a back-road breakdown. Teen Mooney (Brendan Sexton III) tows them to a white-trailer-trash town where they're charged $500 for repairs. When the BMW dies again, they stay overnight in a motel, and the situation soon gets grim. The characters in this low-budgeter were first introduced in a 1996 short. Spark was shown at 1998 film festivals (Sundance, Berlin). ~ Bhob Stewart, All Movie Guide

This psychological drama was based on the novel by Ella Leffland. After the death of her husband, Rose Munck (Diane Ladd), needs a job and takes a position looking after local business tycoon Patrick Leary (Bruce Dern), who has grown old and infirm and can no longer care for himself. However, revenge is higher on Rose's list of priorities than tending to Leary or earning a living; years ago, when she was a teenager, Rose (played in flashbacks by Kelly Preston) was seduced by the married Leary, and when she became pregnant, he threatened to have the child taken away from her unless she had an abortion. Rose chose to have the child against Leary's wishes, but the baby was killed during an altercation between Rose and Leary, and she has never forgiven him for it. Now, with Leary abandoned by his family, Rose takes her opportunity to slowly torture the old man who ruined her life. Mrs. Munck was the directorial debut for Diane Ladd; she was once married to co-star Bruce Dern, and their daughter, Laura Dern, directed a documentary about the making of this film. ~ Mark Deming, All Movie Guide

British filmmaker Peter Yates directs Suspect, a suspenseful courtroom drama set in Washington, D.C. After a Supreme Court justice commits suicide and a Justice Department secretary is found dead, a deaf-mute homeless veteran, Carl Wayne Anderson (Liam Neeson), is the suspected killer. Lonely yet dedicated public defender Kathleen Riley (Cher) is assigned to the case to represent Anderson. Suave lobbyist Eddie Sanger (Dennis Quaid) is on the jury, but he starts his own investigation by finding clues that prove Anderson's innocence. He shares his information with Kathleen, even though they could get arrested for talking about the case. Eventually, they develop a romance and reveal a conspiracy that leads to a twist ending. The mysterious conclusion involves a final courtroom scene presided over by Judge Matthew Helms (played by character actor John Mahoney, who would go on to co-star on the sitcom Frasier). ~ Andrea LeVasseur, All Movie Guide

At the beginning of this documentary on early cinematographer Edwin S. Porter (1869-1941), director Charles Musser gives some background on the "nickelodeons" or theaters that charged a nickel as an entrance fee, and their early (presumably cheaper) predecessors. The men who set up the programs at the nickelodeons -- including Porter at times -- arranged film clips and still slides to create about a half-hour's worth of entertainment -- they were the first film editors. By 1907, eager U.S. movie-goers were investing one million nickels per day for these shows. Edwin S. Porter was active between 1886-1915 and he is still well-known for his 1903 Great Train Robbery, the world's first narrative film, all of 12 minutes long. (It should be noted that Porter's filmography after he lost his position as head of production in Thomas Edison's studio in 1908 is not included in this documentary.) Porter worked first with multi-shot sequences as early as 1901 ("The Execution of Czolgosz" on the assassination of President McKinley, using documentary footage and a staged dramatization), running through one (small) spool of film for one sequence, and another for an additional sequence, usually from another angle or of another scene. Instead of an editor at a nickelodeon putting together two film sequences, Porter was doing the sequencing as the cinematographer. Taking this idea one step further, he pioneered "overlapping continuity," as in his landmark 1902 Life of an American Fireman. In this example of the technique, he put cameras inside and outside a burning building, and in his completed film, he first showed a rescue sequence from the inside, followed by the same sequence from the outside. In the 1930s when that film was recut with methods developed by Porter's most well-known immediate successor, David Wark Griffith, the "Fireman" film was shown with alternating interior-exterior views, from the start of the rescue to the end. Director Charles Musser comments on this later style, saying that in Porter's early years, audiences were not yet visually sophisticated enough to understand the technique of multiple, simultaneous perspectives. (At the same time, other critics maintain that Porter himself intercut the scenes.) Another pioneer in a visual medium, Pablo Picasso came of age artistically during the development of these cinematic techniques, and it is curious that his own style of showing multiple, simultaneous viewpoints of a figure in one image parallels the cinematic visions emerging first with Edwin Porter and then with D.W. Griffith. ~ Eleanor Mannikka, All Movie Guide