Patrick Cassavetti

In a 1950s-era alternate universe where domesticated zombies play a functional role in society by delivering the milk, carrying the mail, and even helping out with household chores, one boy is about to find out just how big of a personal responsibility "pet" ownership truly is. When the Earth passed through a cloud of space dust and the dead arose from their graves to devour the flesh of the living, it first seemed that all hope for humanity was lost. Society's rapid slide into chaos, however, was soon halted when scientists at a company called ZomCom created a special collar that turned the rampaging animated corpses docile. Now, thanks to ZomCom, everything is under control -- or is it? Timmy Robinson (K'Sun Ray) isn't quite convinced. Quiet and withdrawn, the skeptical young boy spends so much time locked away in his room that he's almost become invisible around the household. His mother Helen (Carrie-Anne Moss) has recently purchased a zombie to help keep things tidy around the house though, and when the creature attempts to engage the curious youngster in a game of catch, a friendship is forged between boy and zombie that finds the amiable gut-muncher nicknamed Fido (Billy Connolly) practically becoming a part of the family. Things take a turn for the worse however, when Fido's collar malfunctions and Timmy's neighbors begin dying in droves. When ZomCom's top zombie control specialist Mr. Bottoms (Henry Czerny) moves in across the street from Timmy, the increasingly complicated situation threatens to place a serious stumbling block in the path of human-zombie relations. ~ Jason Buchanan, All Movie Guide

A mismatched couple discovers that whatever can go wrong will go wrong during a family visit in this comedy. Leni (Marian Aguilera) is a television reporter from a Jewish family in Spain. One weekend, Leni drops by her family's home for a visit, with her new boyfriend, college professor Rafi (Guillermo Toledo), in tow. Rafi is more than a bit nervous about meeting Leni's family -- chronically nervous mother Gloria (Norma Aleandro), blustery father Ernesto (Mario Martin), dance-student sister Tania (María Botto), straight-laced bother David (Fernando Ramallo), and addled grandfather Dudu (Max Berliner). But Leni quickly makes matters worse when she announces to her family, who are waiting for Ernesto to return from work, that Rafi just happens to be Palestinian. Matters become a bit tense after that, and while joking with Leni with a block of frozen soup in the kitchen, Rafi accidentally drops the package out the window -- hitting a man on the head who might be Ernesto. ~ Mark Deming, All Movie Guide

Originally telecast over Canada's CTV network on January 29, 2002, A Killing Spring was a one-shot attempt to revive the popular Joanne Kilbourn Mysteries series (aka Criminal Instincts), starring Wendy Crewson as the ex-police-detective-turned-university-lecturer created by Gail Bowen. Missing from this feature-length whodunit is Joanne Kilbourn's longtime co-star Victor Garber, though Shane Doyle fills in admirably as the "official" representative of the law. In this one, Joanne Kilbourn returns to Lanholm College, where she had once been a professor, when the Dean of Journalism is found dead, evidently the result of autoerotic suffocation during "rough sex." Although she risks losing an important internship, Joanne insists upon investigating the death, and in the process unearths a hotbed of moral depravity and academic backstabbing. Throughout, there is one person who is willing to commit murder rather than allow Joanne to expose his innumerable peccadillos -- and the result, inevitably, is two additional corpses. In the United States, A Killing Spring was picked up by the Lifetime cable channel. ~ Hal Erickson, All Movie Guide

The Canadian TV movie The Wandering Soul Murder was based on the novel by Gail Bowen. Though the book took place in Saskatchewan, the film's action occurs in Toronto, where a shadowy serial killer is systematically murdering prostitutes. University professor, single mother, ex-cop, and erstwhile private detective Joanne Kilbourn (Wendy Crewson) is drawn into the case when one of the hookers is killed just outside the shop owned by Joanne's daughter. Things become even more personal when the fiancée of Joanne's son kills herself, apparently ashamed of her own past. For TV purposes, the seamier elements of the novel were cleaned up, though the film was still fairly explicit. Originally presented January 2, 2001 as part of the off-and-on CTV network series Criminal Instincts (aka The Joanne Kilbourn Mysteries), The Wandering Soul Murder was seen in the United States courtesy of the Lifetime cable channel on January 7, 2002. ~ Hal Erickson, All Movie Guide

Terry Gilliam (Brazil, Twelve Monkeys, The Fisher King) directed this colorful, stylized, pseudo-psychedelic $21-million adaptation of the 1971 Hunter S. Thompson classic, Fear and Loathing in Las Vegas: A Savage Journey into the Heart of the American Dream, about stoned sportswriter Raoul Duke, Thompson's alter ego, on a wild drug-crazed road trip, a paranoid plummet into the belly of the beast, with his pal, lawyer Oscar Zeta Acosta. Originally serialized in Rolling Stone (November 1971), the book catapulted Thompson headfirst toward the Kerouac-Mailer-Capote pantheon and jump-started the entire movement of "gonzo journalism." Carrying a suitcase of drugs, Raoul Duke (Johnny Depp with shaved pate) and his attorney Dr. Gonzo (Benicio Del Toro) drive a red convertible across the Mojave from L.A. to Vegas, where Duke has an assignment to cover the Mint 400 desert motorcycle race. As the drugs kick in, Duke ventures into voiceover, filling in the blank spots and narrative gaps. "This is not a good town for psychedelic drugs," says Duke, but even so, they consume vast quantities, eventually escalating to ether. Duke notes that with ether "you can actually watch yourself behaving this terrible way, but you can't control it." The two trash their hotel room, and Gonzo goes back to L.A. Thinking the hotel room holocaust will lead to an arrest, Duke begins a drive back to L.A., but after an odd encounter with a highway patrolman (Gary Busey) and a telephone conversation with Gonzo, he returns to Vegas to cover the District Attorney Convention on Narcotics and Dangerous Drugs in the glitzy Flamingo Hotel. This time the drugged-out duo trash their Flamingo room. The crazed carnival atmosphere segues into a carney casino, Bazooko's Circus, where a barker (Penn Jillette) spiels amid aerialists, clowns, and a rotating carousel bar. Gonzo worries over runaway teen Lucy (Christina Ricci), who paints portraits of Barbra Streisand. Soon the hallucinations begin: Duke sees Gonzo transmogrify into a demon with breasts on its back, and an acid vision of a Vegas bar features large legit lounge lizards (courtesy of monster makeup man Rob Bottin). Flashbacks depicting Duke's intro to the drug scene jump back to love-Haight relationships in San Francisco's Summer of Love. Cameos and guest stars include Mark Harmon, Cameron Diaz, Flea, Lyle Lovett, Harry Dean Stanton, Ellen Barkin, Tobey Maguire, and Hunter S. Thompson himself. The film features a Geffen Records soundtrack mixing rock of the period with Vegas lounge tunes. Over the years, various script adaptations came and went as did numerous talents; people connected with past efforts to film Thompson's book include Martin Scorsese, Jack Nicholson, Dan Aykroyd, John Belushi, and writer-director Alex Cox. Shown in competition at the 1998 Cannes Film Festival. ~ Bhob Stewart, All Movie Guide

Based on the novel by Jane Austen (who in the '90s seemed to be in the running alongside William Shakespeare and Stephen King for the honors of most adapted author in Hollywood), this period romantic comedy stars Gwyneth Paltrow as Emma Woodhouse, a young woman who imagines herself an authority on matters of the heart. With the best of intentions, Emma plays matchmaker for her friends, most notably her friend Harriet (Toni Collette), who Emma links up with the Reverend Elton (Alan Cumming), and her governess, (Greta Scacchi), who she introduces to her future husband, Mr. Weston (James Cosmo). However, Emma is not nearly as good at playing Cupid as she likes to imagine, and she spends so much time trying to solve everyone else's romantic problems that it takes her quite some time to realize that she's fallen in love with Mr. Knightly (Jeremy Northam). A television miniseries based on Austen's book appeared a year later, while a year prior to Emma, the story appeared in modernized form in the popular teen comedy Clueless. ~ Mark Deming, All Movie Guide

Monty Python's Michael Palin plays an Oxford don with acute female trouble in American Friends. While on holiday in the Swiss Alps, Palin crosses the path of American tourist Connie Booth and her adopted daughter Trini Alvarado. Both women express an inordinate desire for the bookish Palin, leading to profound changes in the lives of all concerned. Michael Palin insists that the plot of American Friends was drawn from an actual incident in the life of his own great-grandfather. The film unfolds like a good novel; slow on the uptake, but fascinating once it gets going. ~ Hal Erickson, All Movie Guide

British playwright David Hare both wrote and directed the complicated political melodrama Paris By Night. Charlotte Rampling plays a Tory member of the European parliament, who lets absolutely nothing get in way of her ambitions. At present, Rampling is convinced that she is being blackmailed by her ex-business partner Andrew Ray. Upon accidentally meeting Ray, Rampling impulsively murders the man. In a deliciously ironic turn of events, she is approached by Ray's daughter Sinead Cusack, who hopes that Rampling will help her locate her missing dad. Rampling eventually finds out Ray had been innocent all along-but a greater shock awaits her at home, at the hands of her long-neglected husband Michael Gambon. Paris By Night contains far too many cute coincidences to be credible, but this fact doesn't immediately sink in as the audience revels in the film's superlative performances and David Hare's adroit manipulation of people, places and events. ~ Hal Erickson, All Movie Guide

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, All Movie Guide