Michael Almereyda Movies

An affluent surgeon from New Orleans finds his attempt to piece his life back together after Hurricane Katrina unexpectedly unraveling with the appearance of an old flame in this drama from director Michael Almereyda. Dr. Henry Jekyll (Christopher Eccleston) is a socialite and surgeon whose once-happy home was shaken to the core by his affair with the young and beautiful Hyde (Elisabeth Moss). Now, in the aftermath of Hurricane Katrina, Dr. Jekyll has returned to town to work for an anarchist relief organization dedicated to rebuilding the city. As the tireless aid workers put all of their energy into making New Orleans livable again, Dr. Jekyll makes a concerted effort to get his own life back together by remarrying his ex-wife. But resisting temptation is easier said than done, and when Hyde walks back into his life Dr. Jekyll finds his willpower put to the ultimate test. ~ Jason Buchanan, Rovi

Photographer William Eggleston created a sensation in the art world in 1976 when a collection of his work went on display at the Museum of Modern Art. While the Memphis native's work went against the grain of the conventions of art photography of the day with their heavily saturated colors and oblique, seemingly careless framings, in time critics developed an enthusiasm for his work, and one critic cited the show as "the beginning of modern color photography." Filmmaker Michael Almereyda is an admirer of Eggleston's photography, and created a film portrait of this reclusive artist as he shoots a commissioned assignment in Kentucky, travels to Los Angeles for a show, conducts a joint question and answer session with author Bruce Wagner, and explores the nooks and crannies of the small Tennessee towns that provide his inspiration. Along the way, Almereyda attempts to interview Eggleston and comes up against the brick wall of the photographer's reluctance to discuss his art -- as Eggleston says, "Whatever it is about pictures, photographs, it's just about impossible to follow up with words. They don't have anything to do with one another." ~ Mark Deming, Rovi

In 2000, director Michael Almereyda brought his film crew to San Francisco to document the rehearsal process for the Magic Theater's production of Sam Shepard's play The Late Henry Moss, as directed by the playwright himself. The resulting film, This So-Called Disaster, is partly a study of the magic of theater, as well as a study of the fascinating Shepard, who is nearly universally considered one of the most influential American dramatists of the past century. Shepard and Almereyda's first collaboration came via the former's adaptation of Hamlet, in which Shepard played the part of the Ghost of Hamlet's father. Shepard, in turn, invited Almereyda to film the rehearsal process for his latest play, The Late Henry Moss, a 16-year labor of love for Shepard that relates a fictional recounting of the playwright's own relationship with his late father. Following the cast -- which includes such luminaries as Sean Penn, Nick Nolte, Cheech Marin, and Woody Harrelson -- and the crew until the production's opening night, Almereyda observes the minutiae involved in leading up to the first curtain, as well as some private moments with Shepard as he recounts some of his personal history as related to The Late Henry Moss. This So-Called Disaster was included in the programs for the 2003 Rotterdam International Film Festival and the Tribeca Film Festival. ~ Ryan Shriver, Rovi

William Shakespeare's classic tale is brought to the screen for the third time in ten years in this modernized interpretation. Writer/director Michael Almereyda updates the story to the present day, where Hamlet (Ethan Hawke) is a struggling filmmaker whose personal and familial trials are set against the machinations of a huge production firm called the Denmark Corporation. Joining Hamlet as he seeks revenge for the death of his father and the wedding of his mother to an enemy are Kyle MacLachlan as Claudius, Julia Stiles as Ophelia, Bill Murray as Polonius, Sam Shepard as the ghost of Hamlet's father, Diane Venora as Gertrude, Steve Zahn as Rosencrantz, and Dechen Thurman as Guildenstern. ~ Mark Deming, Rovi

Director Michael Almereyda (The Eternal, Nadja, Twister) adapted this D.H. Lawrence short story about a child who has the power to predict racing horse winners while atop his own rocking horse. Filmed entirely in "Pixelvision": video cameras sold by Fisher-Price (originally as toys) which record low-resolution black & white images onto standard audio cassette tapes. ~ Anthony Reed, Rovi

This stylish combination of expressionistic horror and deadpan black comedy centers on the activities of a beautiful female vampire on the streets of New York City. Playing fast and loose with the Dracula legend, the film examines the legendary count's children, particularly the alluring and mysterious Nadja (Elina Lowensohn). At the film's beginning, Nadja is celebrating her father's demise and hoping to begin a new life. She hopes that this life will include Lucy (Galaxy Craze), a spunky young woman that she seduces after an encounter in a New York bar. Unfortunately, Lucy is already married, to the nephew of eccentric vampire hunter Van Helsing (Peter Fonda), who disposed of Nadja's father and has now set his sights on capturing the daughter. Matters are further complicated when Nadja's brother Edgar (Jared Harris), a vampire who wishes to give up his blood-sucking nature, also becomes involved. Gorgeously shot by cinematographer Jim Denault in a mixture of 35mm black-and-white and low-budget Pixelvision video, the film resembles a combination of the surrealist visions of co-producer David Lynch and the quirky humor and stylized sensibility of Hal Hartley. The convoluted narrative sometimes fails to gel, and the self-conscious, arty approach will not appeal to audiences looking for conventional thrills, but those with a taste for the unusual may find the film an appealing contemporary spin on a familiar legend. ~ Judd Blaise, Rovi

Wim Wenders's sprawling cyberpunk noir epic -- shot in no less than nine different countries -- is set in 1999 and stars Solveig Dommartin as Claire, a young Frenchwoman who comes into contact with a large sum of money stolen during a bank heist; in her travels she picks up a mysterious American hitchhiker (William Hurt), who himself steals some of the money before parting from her company. Upon discovering the theft, Claire sets out on his trail, with both a Hammett-styled German private eye (Rudiger Vogler) as well as her former lover, a novelist portrayed by Sam Neill, in tow. The hitchhiker is really Sam Farber, the son of an underground scientist (Max Von Sydow), and his mission is to travel the globe in order to acquire the funding necessary to develop the technology which will allow his blind mother (Jeanne Moreau) to "see" visual recordings of her family members; the second half of the film takes place largely in the Farbers' compound in the Australian Outback, where Sam, Claire and the others take refuge while attempting to bring the sight project to its fruition, in the meantime pondering earth's future in the wake of a nuclear disaster in outer space. Wenders' most ambitious film, budgeted at $23 million, Until the End Of the World ran into serious issues given its whopping length. The original cut ran 20 hours. Realizing that this would make theatrical screenings impossible, Wenders heavily edited the picture and wound up with a 5-hour cut with which he is reportedly satisfied (known as the 'Director's Cut'). Warners wouldn't go for this either, however, and whittled it down to 2 1/2. That version - which premiered theatrically in the U.S. on Christmas Day 1991- makes little sense ,with a disjointed narrative that doesn't shift gears so much as grind them as the action moves from country to country. Unsurprisingly, it confounded critics and lay viewers and infuriated its director, who all but disowned it. (Echoes of Once Upon a Time in America!) As with the Leone film, though, the Director's Cut of World did evetually see the light of day. It's now widely available in a multi-disc collector's set throughout Europe, and the public response to that version has been far more favorable. ~ Jason Ankeny, Rovi

Don't mistake this movie for the stormy special-effects blockbuster of the same name; the two films are light years apart. Based on Mary Robison's novel Oh!, this Twister was the quirky first feature from screenwriter/director Michael Almereyda (Nadja, The Eternal) about an eccentric soda-pop tycoon and his dysfunctional family. Suzy Amis plays Maureen Cleveland, a single mother who lives with her precocious daughter, Violet (Lindsay Christman), and her very strange brother, Howdy (Crispin Glover), in the family mansion, tended by the young live-in housekeeper, Lola (Charlaine Woodward). Maureen's ex-boyfriend Chris (Violet's father) comes back to town with the intention of rescuing Maureen and Violet from Kansas so they can start a family of their own. This turns out to be more difficult than he expected. Maureen is still angry about their break-up and seems unresponsive to his earnest and somewhat clumsy displays of affection. Howdy is too busy writing nonsensical songs and hanging out with his new girlfriend, Stephanie (Jenny Wright), to be of any help. To complicate matters, their father, Eugene (Harry Dean Stanton), shows up with a prudish children's TV evangelist named Virginia (Lois Chiles) and announces their engagement. No one gets along, and soon all are trapped indoors during a particularly bad Kansas twister. As the storm rages outside, Maureen and Howdy cook up a plan to find their long-lost mother, who may be the only person who can explain why they are all so odd. Like Almereyda's later films, Twister is a kaleidoscope of absurd conversations, oddball characters, and events that seem to happen for no reason at all. It's a perfect vehicle for Crispin Glover, who delivers some of the film's wackiest dialogue as the rich kid comfortably living in his own fantasy world. Tim Robbins makes an appearance as Stephanie's jealous ex-boyfriend Jeff, and author William S. Burroughs has a cameo as a farmer shooting targets in an empty barn. ~ Anthony Reed, Rovi