T-Bone Burnett Movies

In an era when even many full-time workers rely on soup kitchens for sustenance, filmmakers Kristi Jacobson and Lori Silverbush take us into the lives of three people who wage a daily struggle against hunger, and speak with various experts about the possibility of ensuring that every American is well fed. Despite the fact that our nation has the means and resources to feed every hungry mouth, it's estimated that one in four American children doesn't get enough to eat. If we possess the capability to provide these starving children with a nutritious diet but fail to do so, what does that say about us as a society? Barbie is a single mother from Philadelphia who knows how it feels to go to bed hungry. As a young girl she rarely knew where her next meal would come from, and she's determined that her two children will never face that uncertainty. Famished Colorado second-grader Rosie has difficulty concentrating in school and relies on the kindness of others to fill her plate, while Mississippi grade-schooler Tremonica finds her asthma aggravated by the only meals that her mother can afford -- which are decidedly lacking in nutrients. In addition to talking with the people affected by hunger on a daily basis, Jacobson and Silverbush also speak with sociologist Janet Poppendieck, nutrition advocate Marion Nestle, Witness to Hunger's Mariana Chilton, Academy Award winner Jeff Bridges, and various others about this widespread problem and the potential solutions. ~ Jason Buchanan, Rovi

A worn-down country singer and a burgeoning journalist form an unusual bond in this drama adapted from the novel by Thomas Cobb. His spirit broken by multiple failed marriages, too much time on the road, and too many nights with the bottle, Bad Blake (Jeff Bridges) had started to feel like he was headed down the path of no return. When probing young writer Jean (Maggie Gyllenhaal) digs deep enough to unearth the broken man behind the legend, however, Bad realizes that redemption may not be such a long shot after all. Robert Duvall and Colin Farrell co-star. ~ Jason Buchanan, Rovi

Director Wim Wenders and writer Sam Shepard, who collaborated on the award-winning film Paris, Texas, once again join forces for this dark drama of a man trying to turn over a new leaf late in life. Howard Spence (Sam Shepard) is a veteran actor who has been a popular Western star since the mid-'70s. Spence's onscreen image as a strong, principled lawman is a severe contrast to his life off the set, which has been dominated by drinking, drugs, and promiscuous womanizing. However, Spence has begun to find his hedonistic life a shallow existence, and one day, in the midst of filming his latest movie, he simply hops on his horse and rides away, eventually making his way to the small Nevada town where his mother lives. Mother (Eva Marie Saint) has little interest in seeing her wayward son after so many years, but she does share a recently discovered bit of information with him -- one of Spence's former girlfriends stopped by with word that she had given birth to his son years before. Spence borrows his father's old car and drives to Butte, MT, where he finds Doreen (Jessica Lange), the woman who was his lover years ago. Doreen runs a tavern where her son, Earl (Gabriel Mann), plays for the locals with his rock band; Spence is in fact Earl's father, but the young man has no interest in meeting his biological father, and shuts out Spence as the actor tries to get to know him. As Spence struggles to find some sort of familial connection in Butte, he makes friends with a young woman named Sky (Sarah Polley), only to discover she was also fathered by him during his rowdy younger days. Don't Come Knocking's distinguished supporting cast includes Tim Roth, George Kennedy, Fairuza Balk, Julia Sweeney, and Tim Matheson. ~ Mark Deming, Rovi

One of the best-loved films from the idiosyncratic British film studio Ealing Pictures gets an update from the equally idiosyncratic filmmaking team of Joel and Ethan Coen in this offbeat comedy. Marva Munson (Irma P. Hall) is a spry, elderly woman who attends church regularly, doesn't care for loud noises or harsh language, and is looking for a tenant for the spare room in her house. Enter Goldthwait Higginson Dorr (Tom Hanks), a silver-tongued college professor who moves in and gains Munson's permission to use the basement for rehearsals with his "medieval music ensemble." What Munson doesn't know is that Dorr's latest project is not academic, but criminal. Dorr is masterminding the robbery of a riverboat casino, and the fellow musicians in his ensemble are actually the crew he's assembled to pull off the job: foul-mouthed "inside man" Gawain (Marlon Wayans), clumsy demolitions expert Pancake (J.K. Simmons), quiet strong-arm man Lump (Ryan Hurst), and logistical expert The General (Tzi Ma). Despite the best efforts of Dorr and his cohorts (which aren't very impressive), Munson finds out about their scheme, and when she refuses to accept a share of the take in exchange for her silence, Dorr decides the best solution is to silence her permanently. The gospel tunes which grace the soundtrack to The Ladykillers were coordinated by T-Bone Burnett, who also helped assemble the acclaimed song score for the Coen brothers' O Brother, Where Art Thou?. ~ 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

Screenwriter Callie Khouri makes her directorial debut with this adaptation of a pair of popular novels by author Rebecca Wells, Divine Secrets of the Ya-Ya Sisterhood and Little Altars Everywhere. Sandra Bullock stars as Sidda Lee Walker, a New York playwright who opens a can of emotional worms with her estranged, boozy mother, Vivi (Ellen Burstyn), when she discusses her painful childhood and particularly Vivi's less-than-enviable mothering skills in a Time magazine article. The eccentric Louisiana drama queen Vivi has already been barred from her daughter's oft-delayed wedding to her fiancé, Connor (Angus Macfadyen), so the article sends her into a rage. Coming to the rescue of the relationship are Necie (Shirley Knight), Caro (Maggie Smith), and Teensy (Fionnula Flanagan), a trio of bickering women, who, along with Vivi, formed a secret society of feminist empowerment and friendship 60 years earlier that they dubbed the "Ya-Ya Sisterhood." The Ya-Yas kidnap Sidda and bring her home to Louisiana, where they reveal to Sidda via a carefully maintained scrapbook her mother's painful past (with Vivi portrayed in flashback by Ashley Judd), effecting a rapprochement between mother and daughter. Divine Secrets of the Ya-Ya Sisterhood also stars James Garner. ~ Karl Williams, Rovi

The writing, directing, and producing team of Joel Coen and Ethan Coen created this picaresque comedy (inspired in part by Homer's The Odyssey) set in the Deep South during the Depression. Suave and fancy-talking Everett Ulysses McGill (George Clooney), dim-witted Delmar (Tim Blake Nelson), and easily-excitable Pete (John Turturro) are serving time together on a prison chain gang. Everett knows where $1.2 million is hidden that's theirs for the taking, and the three manage to escape; however, a stranger soon warns them that they'll find treasure, but not the sort they're looking for. As Everett and his partners hit the road, they happen upon a gluttonous bible salesman, Big Dan Teague (John Goodman); meet up with Baby Face Nelson (Michael Badalucco) as he robs a bank; encounter three Sirens doing their washing; run into Everett's estranged wife Penny (Holly Hunter), who has told everyone her husband was killed in a train wreck; find themselves in the middle of a heated campaign between political boss Pappy O'Daniel (Charles Durning), and reformist candidate Homer Stokes (Wayne Duvall); and even find time to make a hit record as The Soggy Bottom Boys. Noted songwriter T-Bone Burnett helped compile the songs (combining vintage country blues tunes with originals in the same style), while Carter Burwell composed the background score. Incidentally, the title O Brother, Where Art Thou? is a reference to the classic Preston Sturges comedy Sullivan's Travels, in which a director plans to make a serious "message picture" with that name. ~ Mark Deming, Rovi

One of the most distinctive vocalists in the history of rock and roll, Roy Orbison was in the midst of a well-deserved comeback in 1987 when he performed this special concert for television, beautifully filmed in black and white and featuring some famous friends helping him out. Orbison is joined onstage by Bruce Springsteen, Elvis Costello, Bonnie Raitt, k.d. lang, Jackson Browne, Tom Waits, and T.Bone Burnett as he sings "Oh, Pretty Woman," "Only the Lonely," "It's Over," "Blue Bayou," "Crying," "In Dreams," "Running Scared," and ten other classics. ~ Mark Deming, Rovi

A notorious artistic and financial failure, Michael Cimino's Heaven's Gate was blamed for critically wounding the movie Western and definitively ushering out the 1970s Hollywood New Wave of young, brash, independent filmmakers. Taking a revisionist, post-Vietnam view of American imperialism, Cimino used the historical Johnson County War incident in Wyoming to create an impressionistic tapestry of Western conflict between poor immigrant settlers and rich cattle barons led by Canton (Sam Waterston) and his hired gun Nate Champion (Christopher Walken). Attempting to mediate is idealistic Harvard graduate and county marshal Averill (Kris Kristofferson), who is both Nate's friend and his romantic rival for the affections of Ella Watson (Isabelle Huppert). However, war erupts, at great cost to all involved. Flush from his success with the Oscar-winning The Deer Hunter (1978), Cimino demanded creative control, and his insistence on shooting on location and building historically accurate sets and props multiplied the film's original budget to a then-astronomical $36 million. When United Artists premiered the original 219-minute version (sight unseen), they discovered that Cimino had produced an elliptical epic, compounding the box-office difficulties of making a Western without any major stars. Critics howled about Cimino's incomprehensible self-indulgence, and United Artists pulled the film after several days. Re-released five months later, 70 minutes shorter, Heaven's Gate bombed again, and MGM bought out the financially crippled United Artists. The ailing Western genre virtually vanished during the 1980s, Cimino's career never recovered, and Hollywood studios had had enough of bankrolling financially risky ventures by "auteur" directors. Heaven's Gate's reputation recovered somewhat after its video release, as it garnered praise from some viewers for such visually remarkable sequences as the Harvard dance and the final battle, as well as for David Mansfield's haunting score. Steven Bach's book Final Cut provides a full production history. ~ Lucia Bozzola, Rovi