Annabelle Weenick Movies

When an eight-year-old black youth (Norman D. Golden II) witnesses a mob hit, he orders the police to make him a cop for a day before he will help identify the killer. Detective Nick McKenna (Burt Reynolds) is the unfortunate assigned to the case. ~ John Bush, Rovi

Julie Andrews and Ann-Margaret combine their not inconsiderable talents for Our Sons. In her TV-movie debut, Ms. Andrews plays a San Diego businesswoman and self-styled liberal whose open-mindedness is put to the test when she discovers that her son (Hugh Grant) is homosexual. This brings Andrews in reluctant contact with Ann-Margaret, a brash Arkansas cocktail waitress whose own son (Zeijko Ivanek) is Andrews' son's lover. The occasion for the meeting between the two mothers is the revelation that Ann-Margaret's son has AIDS. Andrews and Ann-Margaret go through a lengthy period of self-denial and self-blame before coming to grips with the tragedy now facing them. William Hanley's screenplay for Our Sons was supposed to spotlight the mothers, but the strong rapport between the sons throws the emphasis off at times. The director was John Erman, whose previous successful collaborations with Ann-Margaret included Who Will Love My Children and A Streetcar Named Desire. ~ Hal Erickson, Rovi

In this made-for-TV movie, a woman suffering the ravages of terminal cancer desires, against the wishes of her husband, to permanently end her suffering. ~ Iotis Erlewine, Rovi

The Jim and Tammy Faye Bakker story was a "natural" for TV-movie adaptation, and Fall From Grace more than fills the bill. Bernadette Peters heaps on makeup by the trowel as Tammy Faye, the wife of televangelist Jim Bakker (here played with boyish fanaticism by Kevin Spacey). The Bakkers build up their "PTL" organization ("Praise the Lord") into a massive empire encompassing millions of dollars in donations, a cable-TV network, valuable land holdings and a garish religious theme park, Heritage USA. A North Carolina newspaper rocks the boat by investigating inequities in the Bakkers' financial setup. The whole enterprise falls apart when it's discovered that Jim has siphoned off funds to cover up an extramarital affair. Telecast in the spring of 1990 to coincide with the beginning of Jim Bakker's long, long prison sentence, Fall From Grace tries to be fair...for at least fifteen minutes. ~ Hal Erickson, Rovi

When a couple tries to adopt a child, they run into red tape because the foster child asserts that her natural father molested her. ~ Rovi

After twenty-five years, a trio of old high school friends are held responsible for a rape incident they have, until now, kept secret in this television miniseries based on Thomas Thompson's novel. ~ Kristie Hassen, Rovi

This unsettling but moody low-budget psycho-thriller -- a drive-in version of Repulsion with a Southern Gothic flavor -- stars the eerie-looking Camilla Carr as a demented young recluse who believes herself to be possessed by the spirit of her long-lost brother (who is presumed dead), and slays any man who makes sexual advances toward her -- usually running them through with a sword. Her dementia intensifies, leading her to take her own life by chewing on broken glass (a particularly unsettling scene). The chief plot twist and subsequent dramatic punchline -- involving the brother's true identity and whereabouts -- is a long time coming, but fairly satisfying nonetheless. ~ Cavett Binion, Rovi

Amanda (Susan Bracken) receives a strange phone message beckoning her to the side of her ailing, elderly grandmother (Rhea MacAdams). She hasn't been to her hometown for 13 years, not since the night that her mother was butchered in bed by an unknown maniac. Amanda returns to her grandmother's sprawling house and finds her being "cared for" by a local doctor (James Harrell) who has prescribed suspicious medicines and refuses to admit the delirious old woman to the hospital. Not only that, but control of the estate is being fought over by the wealthy, powerful Judge Stemple (Gene Ross) and Claude Kearn (Larry O'Dwyer), the man who runs the local historical society. Amanda forcefully claims her rights as kin and calls an ex-boyfriend, a doctor named Nick (Hugh Feagin) who agrees to take over her grandmother's medical care. After the old woman is safely in the hospital, however, Amanda starts getting a series of disturbing phone calls. A threatening voice is demanding humiliating favors and dropping hints that he's the same madman who killed her mother. Amanda has no idea who to trust, so every time the doorbell rings in the middle of the night, she is forced to face greed, murder, and insanity. ~ Fred Beldin, Rovi