Elmer Bernstein Movies

Maverick director Todd Haynes embraces the look and feel of classic Hollywood melodramas of the 1950s in this period drama. Cathy Whitaker (Julianne Moore) and her husband, Frank (Dennis Quaid), are a seemingly perfect couple; living in a handsome suburban neighborhood in Hartford, CT, in 1957, Cathy and Frank have a beautiful home and two happy, healthy children, while Frank pursues a successful career in sales and Cathy cares for the home. But Cathy has begun to sense something isn't quite right in her marriage, as Frank begins working late, spending less time with her, and seems cold and distant. One day, Cathy visits Frank's work and discovers something she never expected -- her husband is kissing a man. At Cathy's urging, Frank undergoes psychotherapy, but as she tries to keep up a brave face, the emotional trauma takes a great toll on her, and she finds there are very few people she can talk with. Cathy strikes up a friendship with Raymond Deagan (Dennis Haysbert), an African-American gardener who works for the Whitakers, and as she discovers how intelligent and compassionate Raymond is, she finds herself drawn to him. However, Hartford is in many ways still a small town, and when Mona (Celia Weston) sees Cathy and Raymond alone together, it sets off a wave of vicious gossip that threatens to make the Whitakers' many secrets public knowledge. Far from Heaven premiered at the 2002 Venice Film Festival, where Julianne Moore's performance won the prize for Best Actress. ~ Mark Deming, Rovi

Al Pacino made a rare return to the stage in 1994 when he starred in a Broadway production of Ira Lewis's play Chinese Coffee. In this film adaptation of the drama, Pacino recreates his performance and also directs. Harry Levine (Pacino) is a writer in his early fifties who has published two novels, but never enjoyed enough literary success to leave his job as a doorman. Harry has just finished a third book, and is waiting for his close friend Jake Manheim (Jerry Orbach) to read the manuscript and give him his opinion. Harry is already edgy as he awaits Jake's verdict, since his longtime girlfriend, artist Joanna (Susan Floyd), has just called an end to their relationship. Jake, on the other hand, broke up with his wife Mavis (Ellen McElduff) when he decided to abandon his 30-year career as a photographer in pursuit of a (thus far unsuccessful) career as an actor. At first Jake tells Harry he hasn't yet read his new book, but in time he confesses that he has and that, from a literary standpoint, he thinks Harry simply doesn't have the talent to be a success; he also feels hurt and betrayed as a friend that Harry used sensitive moments from Jake's private life as plot points in his novel. Chinese Coffee was Al Pacino's second effort as a film director, following Looking for Richard, his semi-documentary look at staging William Shakespeare's Richard III. ~ Mark Deming, Rovi

Beth Cappadora (Michelle Pfeiffer), a photographer, is married to Pat (Treat Williams), a restaurateur, and they would seem to have a perfect life in Madison, Wisconsin. In 1988, they have three small children that Beth takes along to her high school reunion in Chicago. While checking in at a crowded hotel lobby, her middle child, three-year-old Ben, disappears. Despite a frantic search and much media coverage, the boy is not found, and Beth soon falls apart. Nine years later, the family has only barely recovered when they move to Chicago so Pat can open a restaurant with his father. A few months later, a neighborhood boy named Sam Karras (Ryan Merriman) knocks on the door, asking to mow the lawn. Beth notices the boy's appearance exactly matches a time-elapsed photo of Ben constructed by the police; she takes pictures of the boy and contacts both her husband and police detective Candy Bliss (Whoopi Goldberg). School fingerprints of Ben and Sam match, and the boy is taken to foster care while Candy and Beth confront the father, George (John Kapelos). It seems Ben was abducted by an unbalanced woman who was Beth's high school classmate; the boy was eventually adopted by George when he married "Sam's" new mother, and she later committed suicide, leaving no one to blame. Having grown up happily with George, Sam has no memories of his real parents. Now Beth and Pat must find a way to bond with Sam, and heal older brother Vincent (Jonathan Jackson), who was supposed to be watching Ben at the time he disappeared, and has been suffering from guilt ever since. ~ Ron Wells, Rovi

This tense urban drama stars Nicolas Cage as Frank Pierce, a paramedic on the brink of physical and emotional collapse. Frank has worked for years in one of New York's most brutal neighborhoods, and the pressure of his job has taken its toll; plagued with self-doubt, he is haunted by the spirits of the people he couldn't save, and while he desperately wants to quit his job, outside forces won't let him walk away. Bringing Out the Dead brought director Martin Scorsese back to the streets of contemporary New York, one of his favorite locations, after three films set elsewhere: Kundun, Casino, and The Age of Innocence. The film also reunited Scorsese with screenwriter Paul Schrader, who scripted Taxi Driver, Raging Bull, and The Last Temptation of Christ. The supporting cast includes Patricia Arquette as the daughter of a heart attack victim that Frank has fallen in love with, and John Goodman and Ving Rhames as two of Frank's fellow drivers. ~ Mark Deming, Rovi

The Nobody's Fool (1994) team of Paul Newman, director Robert Benton, and scripter Richard Russo reassembled for this L.A. detective drama, beginning with a Puerto Vallarta prologue showing private eye Harry Ross (Newman) accidentally shot by 17-year-old Mel Ames (Reese Witherspoon) during his efforts to get her to return home. Two years later, the broke and divorced Ross lives in a garage apartment on the estate of Mel's parents, his movie-star friends Jack and Catherine Ames (Gene Hackman and Susan Sarandon). The cancer-ridden Jack is not unaware that Harry is attracted to Catherine. Delivering a package for Jack, Harry encounters elderly Lester Ivar (M. Emmet Walsh), who shoots at Harry and then dies. Harry's curiosity is provoked when he discovers that Ivar was an investigator checking into the disappearance of Catherine's first husband, written off 20 years earlier as an unsolved case, but now reactivated as Harry's sleuth-work leads him on a trail of past crimes and cover-ups. The Ames residence is actually the former Cedric Gibbons-Delores Del Rio home, and a never-completed Frank Lloyd Wright house near Malibu served as the Ames' ranchhouse. ~ Bhob Stewart, Rovi

Season One of the TV western The Magnificent Seven: The Series begins with a 2-hour opener, set in the early 1870s, which details how seven "fast guns" were united under the guidance of reformed gunslinger Chris Larrabee (Michael Biehn) to protect a peaceful Seminole Indian tribe from being slaughtered by an insane ex-Confederate officer and his band of brigands. Reportedly, one of the Seven was to have been killed in the pilot and replaced by actor Francis Riley as Irish expatriate Darragh O'Malley, but the producers were so impressed by the chemistry among the leading actors that it was decided to keep the original cast intact. Once their job is done, Chris and his companions--tactiturn ex-bounty hunter Vin (Eric Close), ladies' man Buck (Dale Midkiff), defrocked priest and "mad prophet" Josiah (Ron Perlman), cynical Southern con-man Ezra (Anthony Starke), former slave Nathan (Rick Worhty) and Eastern-born naïf J.D. (Andrew Kavovit)--are invided by Judge Orin Travis (Robert Vaughn) in remain a team in order to safeguard the town of Four Corners from any and all outlaws, killers and other miscreants. Travis is willing to tolerate the the Seven's unorthodox (and sometimes downright) unethical methods, so long as they get results. Likewise grateful for the Seven's presence is Travis' widowed daughter Mary (Laurie Holden, editor of "The Daily Clarion", as well as local cowgal Casey (Dana Barron). In the course of the season's 10 episodes, our heroes rescue a group of "working girls" from their brutal overseer, redeem of professional safecracker, help Mary's son (Justin Travis) overcome a traumatic experience, and contend with the arrival of Ezra's equally larcenous mother (Michelle Phillips). Also, Chris is given an important lead to the man he holds responsible for the murder of his wife and child; an evil land developer (Tim Thomerson) shows up to gyp the locals out of their property; and in the season's final episode, the Seven square off against a corrupt sheriff (Cliff DeYoung) who is running an illicit prison camp and exploiting the convict labor. ~ Hal Erickson, Rovi

A lot of people like to say that their pets think they're human, but Trudy Lintz (Rene Russo) has taken this notion to a new level: she likes to treat her pets as if they were human. A wealthy New Yorker, Trudy has a menagerie of animals living in her apartment, including dogs, horses, ducks, and four chimpanzees whom she dresses in human clothing and treats as if they were her own children. Trudy's husband (Robbie Coltrane) is fully aware of his wife's eccentricities but has learned to live with them. However, this gets a bit more difficult when Trudy is persuaded to adopt Buddy, an infant gorilla. Buddy is a tiny creature in poor health when Trudy first meets him, but with love and care she nurses the gorilla back to health. However, the rejuvenated Buddy starts growing into adulthood, and while the chimps are small and docile enough to wear human clothing and obey Trudy's instructions, Buddy becomes a several-hundred-pound adult who hears the call of the wild too clearly to do what Trudy wants, which becomes painfully obvious during a trip to the World's Fair. Jim Henson's Creature Shop helped create the special-effects animals used in the film. ~ Mark Deming, Rovi

This post-modern comic variation on The Defiant Ones concerns Keats (Damon Wayans), an undercover police detective trying to get the goods on crime kingpin Frank Colton (James Caan). Keats poses as a crook to make friends with one of Colton's underlings, a drug dealer and car thief named Archie Moses (Adam Sandler). Keats is using Archie as part of a sting operation to put Colton away; however, Archie doesn't care for this, and when he finds out Keats's true plan and actual identity, it leads to an altercation that ends with Archie shooting Keats in the head. Several months later, Keats emerges from the hospital with a metal plate in his skull, and he has to bring Archie in. However, now Archie and Keats are both on Colton's enemies list, and the two find themselves on the run in Arizona, trying to outwit Colton's team of assassins, but having Archie on hand doesn't do much good in the outwitting department. Bulletproof was directed by Ernest Dickerson, who got his start as a cinematographer for Spike Lee. ~ Mark Deming, Rovi

In 1994, the British Film Institute commissioned a set of films to mark the centenary of the movies. They would trace the history of several national cinemas, and the BFI's choice for interpreting the history of American film fell to director Martin Scorsese, a longtime champion of film history and preservation. Scorsese's approach to his subject is director-centered, as he examines the tension inherent in the struggle of an artist wishing to make a personal statement against the collaborative nature of films and the commercial pressures of the Hollywood moviemaking factory. Segments of this series are devoted to the director as storyteller (examining narrative devices in the Western, gangster film, and musical), illusionist (technical tricks), smuggler (imbedding personal messages), and iconoclast (bucking the system to make films his own way). The series is replete with telling clips, not just snippets or shots, but entire scenes which illustrate Scorsese and co-director Michael Henry Wilson's points. Other filmmakers, including John Ford, Francis Ford Coppola, Billy Wilder, and Orson Welles, are seen in archival footage or interviews created for the series, offering their own take on the art of filmmaking. Scorsese doesn't discriminate between filmmakers with glossy reputations and those who always worked on the fringe of public awareness. If anything, he goes out of his way to champion mavericks like Samuel Fuller whose "visceral cinema" never enjoyed box-office success or awards. Personal Journey was first shown on British TV, released in limited fashion to theaters in the United States, and shown here on TV as well. A tie-in book was published in 1997 by Miramax Books; it contains the entire script for the series, excellent black-and-white stills, and dialogue from some of the clips. ~ Tom Wiener, Rovi

Martin Mirkhein (Griffin Dunne) is a failed entrepreneur trying to figure out how to pay a huge tax bill to the State of Florida when he gets a brainstorm -- Daniel Strong, the inspirational men's movement novel by New Age philosopher Luther Waxling (Dennis Hopper), would make a great film. Never mind that Mirkhein doesn't know a thing about making movies -- he decides that this film is his destiny, and he heads out with his girlfriend/personal assistant/aspiring screenwriter Marie (Illeana Douglas) to visit Waxling's representatives, who don't react with much enthusiasm when Mirkhein suggests that he'd like them to give him the film rights as well as the money to produce the movie. In search of financing, Mirkhein finds himself working with Kim Ulander (Christopher Walken), a businessman who doesn't mind if people think he's a gangster (and boy, is he something at karaoke night!), and Ron (John Turturro), a second-rate hood with a severely impaired fashion sense. The first directorial effort from artist David Salle, Search and Destroy was executive produced by Martin Scorsese, who also plays a small role as a tax agent. ~ Mark Deming, Rovi

In Michael Moore's political satire, the U.S. president (Alan Alda) decides to wage a cold war against Canada in an attempt to reverse his slipping popularity, and, as a result, he drives a small group of incensed Canadians to take matters into their own hands. Alda is the first president in years not to lead his country into war, which naturally means that his approval rating is dangerously low. The sure-fire way to boost his popularity is to start a war and demonstrate American superiority. Unfortunately, as his advisors point out, the U.S. has run out of enemies. That is, until Alda's National Security Advisor Stuart Smiley (Kevin Pollak) happens to catch a segment on the news about a brawl at a Canadian hockey game that began when local American sheriff Bud Boomer (John Candy) made a remark about Canadian beer. This incident gives Smiley the notion to make the public believe that Canada is their new enemy. Determined to demonstrate the mighty power of America to the Canadians, Boomer gets a group of equally angry fellow Americans together to cross the border and perform the most serious of all Canadian crimes -- littering. However, the invasion is foiled and Boomer's numerous blunders threaten to turn a fabricated war into a real one. Written, directed, and produced by Michael Moore, Canadian Bacon takes lighthearted jabs at the differences between the U.S. and Canada, while also satirizing America's obsession with its military strength. The film features John Candy in his last complete screen performance. ~ Don Kaye, Rovi

John McNaughton directed this Richard Price-scripted comedy about a cop who learns to love an unwanted gift from a gangster. Robert De Niro plays Wayne Dobie, a shy and reclusive Chicago cop who has never fired a gun. Dobie is an evidence technician who takes photographs at crime scenes, earning the moniker of "Mad Dog" for his diffident attitude. One day Dobie walks in on a convenience store holdup and saves the life of Chicago mob boss Frank Milo (Bill Murray). Frank is impressed by the way Dobie handled the holdup and wants to pay him back for saving his life. In thrall to Frank is Glory (Uma Thurman), who is working off her brother's gambling debts by living with the mobster. One day, Glory turns up at Dobie's house, explaining that Frank is giving her to him for one week as a gift. Initially Dobie wants nothing to do with Glory, but as the week goes on, he realizes he is becoming intensely attracted to her. ~ Paul Brenner, Rovi