Robert F. Colesberry Movies

Season Three of The Wire opens with the demolition of Baltimore's notorious Franklin Terrace towers, the home base of Avon Barksdale's (Wood Harris) crew, currently under the supervision of Stringer Bell (Idris Elba). Rather than worry about expanding his control, through violence and intimidation, of the corners of West Baltimore, Stringer explains to his lieutenants that he plans to make money by offering the other gangs in on their New York drug supply, and sharing the corners with them. Lieutenant Daniels (Lance Reddick) and his unit are doing surveillance on Cheese (Method Man), one of Proposition Joe's dealers, and begin to realize that the phones that the street dealers use never reach the higher-ups in the organization. They have a wire up on one talkative dealer, who happens to be Prop Joe's nephew, and they decide to bust someone higher on the food chain in hopes that Prop Joe will promote the talker. "What makes you think they'll promote the wrong man?" asks Commissioner Burrell (Frankie Faison), to which Daniels responds, "We do it all the time." Daniels also finds out that Mayor Royce (Glynn Turman) is holding up his promotion because his wife, Marla (Maria Broom) is planning to run for the city council against one of the mayor's cronies. An ambitious councilman, Tommy Carcetti (Aidan Gillen) notices an uptick in violent crimes in the city, and decides to go after the mayor, inviting the media to watch him criticize Burrell at a hearing. This leads Burrell and Rawls to pressure their majors, including Bunny Colvin (Robert Wisdom) who is approaching his thirty year pension, to bring the murder rate down. Cutty (Chad L. Coleman), a former drug soldier, gets out of prison after fourteen years, and gets a handout from Avon, who plans to get out soon himself. ~ Josh Ralske, Rovi

In time-honored American tradition, two tough bureaucracies clashed head-on in the weekly cable-TV police drama The Wire. The difference here was that the bureaucracies in question were on diametrically opposite sides of the law. Filmed in Baltimore, the series was set in motion when a local judge, disgusted with the lack of progress in the war on drugs, ordered the city's Narcotics and Homicide divisions to join forces in their efforts to solve a string of murders which might have been drug-related. The "good guys" included homicide detectives Jimmy McNulty (Dominic West) and Bunk Moreland (Wendell Pierce) and narcotics detectives Shakima Greggs (Sonja Sohn), Cedric Daniels (Lance Reddick), Ellis Carver (Seth Gilliam), and Herc Hauk (Dominick Lombardozzi). To say that these law officers did not always see eye to eye would be an understatement, but their jealous squabbles were minor compared to the ego-driven flare-ups within the bad guys' camp -- specifically the members of the Franklin Towers drug dealing operation, led by Avon Barksdale (Wood Harris) and his contentious relatives. Created by David Simon (The Corner), the 13-episode The Wire debuted June 2, 2002, on the HBO cable service. ~ Hal Erickson, Rovi

Noted baseball fan Billy Crystal directed this made-for-cable drama set in the summer of 1961, as two of the strongest hitters in the major leagues, Mickey Mantle (Thomas Jane) and Roger Maris (Barry Pepper), find themselves neck and neck in a battle to break Babe Ruth's long-standing record for most home runs in a season. Both men were playing for the New York Yankees at the time, and as the two men came within grasping distance of Ruth's record, their loyalty as friends and teammates was put to the ultimate test. 61 also features Richard Masur, Bruce McGill, Anthony Michael Hall, and Renee Taylor; the scenes set in Yankee Stadium were filmed at Michigan's Tiger Stadium, shortly after the Detroit Tigers shuttered the venerable playing field and relocated to a newer facility. ~ Mark Deming, Rovi

A complex tale of uneasy alliances and hostilities along the Kansas/Missouri border during the Civil War, Ride with the Devil opens in 1862. The story concerns Jack Bull Chiles (Skeet Ulrich), a proud son of the South ready to fight for the Confederate cause after his father is killed by Yankee troops. Chiles's friend, Jake Roedel (Tobey Maguire), joins the Bushwhackers, a group of renegade Southerners aligned with the Confederate Army, even though his family supports the Union cause - which sets him head-to-head with his father. The two young men, used to the slow pace and gracious lifestyle of the South's privileged class, become guerilla fighters and wander through the countryside together, encountering sudden, shocking and extreme acts of violence. Their comrades include valiant leader Black John (James Caviezel), paranoid madman Pitt (Jonathan Rhys Myers), gentleman George (Simon Baker), and Daniel (Jeffrey Wright), a laconic former slave who unexpectedly fighs for the south despite his race out of sheer loyalty to George - though the others regard him with suspicion. The Bushwhackers hide out in a shed near the home of Sue Lee Shelley (singer/songwriter/poet Jewel), a pregnant widow whose husband was killed three weeks after their marriage. Later, following a shocking and unexpected act of violence, a number of the men team up with the crazed Quantrill (John Ales) to stage an attack on an abolitionist stronghold, but Jake finds his moral conscience growing more acute, and takes the first steps toward romancing and starting a family with Sue Lee in what looks to be a very different post-Civil War future. Adapted from the novel Woe to Live On by Daniel Woodrell, Ride with the Devil was directed by Ang Lee, whose previous project was a very different look at America's past, the 1970s domestic drama The Ice Storm (1997). ~ Mark Deming, Rovi

A policeman plays Good Samaritan to a visitor from Ireland, only to discover that he has a potentially deadly secret. Belfast-born Frankie McGuire (Brad Pitt) saw his father gunned down by enemy soldiers at the age of eight, and when he grew up he joined the Irish Republican Army, determined that one day his father's death would be avenged. An especially ruthless "volunteer," Frankie is responsible for the death of 13 British soldiers and 11 policemen. After a particularly bloody battle, Frankie sails to the United States in a ragged tugboat he has restored; with a huge bundle of cash, Frankie intends to buy a stock of Stinger missiles from an underground arms dealer in America, Billy Burke (Treat Williams). Upon arrival in New York, Frankie is met by a judge who is sympathetic to the IRA's cause and who arranges a place for him to stay. Using the name Rory Devaney, Frankie moves into the home of Tom O'Meara (Harrison Ford), a scrupulously honest cop. Tom is already in the midst of a personal crisis; his friend and partner Edwin Diaz (Ruben Blades) recently shot a man that he knew was unarmed in the line of duty, and while Edwin wants Tom to help him cover up the matter, Tom's conscience will not allow it. When Tom begins to realize that "Rory" is not simply a man running from the violence of his homeland, he's torn between his sympathy for Frankie's tragic childhood and his desire to see justice served and prevent needless death in Ireland. ~ Mark Deming, Rovi

This adaptation of the comic novel by T. Coraghessan Boyle is the story of real-life Corn Flakes inventor Dr. John Harvey Kellogg (Anthony Hopkins), an eccentric health nut in the early 20th century. Convinced of the benefits of holistic health practices (mostly involving irrigation of the bowels and colon), Kellogg opens a spa in Battle Creek, Michigan that immediately attracts the well-to-do of his time, including Will (Matthew Broderick) and Eleanor Lightbody (Bridget Fonda). A young couple with sexual and marital problems, the Lightbodys aren't helped much by the forced separation of sexes at Kellogg's sanitarium, and the situation is further exacerbated by Will's obliging nurse (Traci Lind) and Eleanor's encounters with a group of German sex therapists. Also at the spa are Charles Ossining (John Cusack), an ambitious con man who sees a fortune in Kellogg's cereal, and the unwashed, cretinous George Kellogg (Dana Carvey), one of the doctor's several dozen adopted children. A spoof as obsessed as its protagonist with its scatological subject matter, The Road to Wellville was an unusual effort for director-composer Alan Parker, known better for darker dramatic material and musicals. ~ Karl Williams, Rovi

In this film version of E. L. Doctorow's Billy Bathgate, Loren Dean plays the title character, a street-smart kid who inveigles his way into the confidence of 1930s gangster Dutch Schultz (Dustin Hoffman). Billy is ordered to look after Schultz' new moll, Drew Preston (Nicole Kidman), while Dutch fends off tax evasion charges and such up-and-coming rivals as Lucky Luciano (Stanley Tucci). Even though they know they're playing with dynamite, Billy and Drew fall in love. In attempting to escape Schultz' wrath, Billy succeeds only in putting himself in the thick of a gun battle between his boss and Luciano. When "Charley Lucky" emerges triumphant, Billy is forced once again to rely on his wits to escape being sent to the bottom of the briny in a cement overcoat. Bruce Willis shows up in an extended cameo as Dutch Schultz' former business associate. Billy Bathgate was adapted for the screen by British playwright Tom Stoppard. ~ Hal Erickson, Rovi

Mississippi Burning is an all-names-changed dramatization of the Ku Klux Klan's murders of three civil rights workers in 1964. Investigating the mysterious disappearances of the three activists are FBI agents Gene Hackman (older, wiser) and Willem Dafoe (younger, idealistic). A Southerner himself, Hackman charms and cajoles his way through the tight-lipped residents of a dusty Mississippi town while Dafoe acts upon the evidence gleaned by his partner. Hackman solves the case by exerting his influence upon beauty-parlor worker Frances McDormand, who wishes to exact revenge for the beatings inflicted upon her by her Klan-connected husband Brad Dourif. Many critics took the film to task for its implication that the Civil Rights movement might never have gained momentum without its white participants; nor were the critics happy that the FBI was shown to utilize tactics as brutal as the Klan's. The title Mississippi Burning is certainly appropriate: nearly half the film is taken up with scenes of smoke and flame. ~ Hal Erickson, Rovi

Housekeeping is the film in which Christine Lahti invites a guest into a living room half-submerged in water. This is hardly the oddest moment in this characteristically quirky Bill Forsyth film (his first American production). When their grandmother dies, Idaho pre-teens Sarah Walker and Andrea Burchill are watched over by their late mother's sister (played by Ms. Lahti). This strange young woman has throughout her life made unconventionality a life form. The girls are at first embarrassed by their loopy aunt, but when Burchill moves in with another family, Walker draws closer to the older woman. They hit the road, where Lahti has spent most of her life, and experience several picaresque episodes before the more sober-sided Burchill informs the authorities about their vagabond lifestyle. Threatened with losing custody of Walker, Lahti makes an effort to clean up her act, but by this time her niece has become just as endearingly unpredictable as she. Director Forsyth adapted his script from a novel by Marilynne Robinson. ~ Hal Erickson, Rovi

In 1984, actor Dustin Hoffman starred in a critically-acclaimed Broadway revival of playwright Arthur Miller's classic Pulitzer Prize-winning drama Death of a Salesman. A year later, Hoffman and most of his fellow cast members starred in this made-for-TV production, the first English-language film by German director Volker Schlondorff. Hoffman stars as Willy Loman, an aging salesman who has lost his job because of encroaching senility. Now living on handouts provided by his friend Charley (Charles Durning), Willy's lifelong delusions of success and greatness awaiting just around the corner for he and his family have been shattered, and he's considering suicide. As he reflects on his life and the failed promise of his sons Biff (John Malkovich) and Happy (Stephen Lang), Willy finally confronts some unpleasant truths about both sons, particularly Biff, a one-time athlete who has become a kleptomaniac. One of the best of the many filmed versions of Miller's seminal work, Death of a Salesman (1985) won several awards, including a Golden Globe and an Emmy for Hoffman. ~ Karl Williams, Rovi

The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud's closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than blatantly verbal terms. (If the characters told you that the story was a retelling of the Camelot legend in baseball terms, would you have watched?) Another plus is the pastoral theme music by Randy Newman, which has been well utilized on sports broadcasts and "human interest" TV documentaries ever since. The baseball scenes in The Natural were staged at War Memorial Stadium in Buffalo, New York. ~ Hal Erickson, Rovi

In the early 1960s, two very different New Jersey high schoolers share their first love in this bittersweet romantic drama, an early feature by writer/director John Sayles. Jill Rosen (Rosanna Arquette) is a sweet, overachieving Jewish girl heading for college to become an actor; "Sheik" Capodilupo (Vincent Spano) is a mysterious, confident Italian guy who pushes his way into Jill's already busy life. Sheik successfully woos Jill, and the story follows their ups and downs as teenage romantics. While that introduction is lighter fare than most Sayles material, the film trails off into some unexpected plot developments, providing an original take on the "different sides of the track" genre. Sayles directs the high school scenes with a combination of reminiscence and reality, balancing the excitement of cars and the prom with the heartache, anxiety, and classwork that goes along with it. The movie is injected with a mostly 1960s soundtrack, yet the videocassette lists that "some music has been changed" for home video -- the note apparently refers to four Bruce Springsteen cuts. Matthew Modine and Tracy Pollan appear in small parts, and Robert Downey Jr. also has a tiny role. This was the fiercely independent Sayles' first film to be made with a major studio (Paramount), and he claims it will be his last, as he lost final editing control. ~ Norm Schrager, Rovi

Bruce Dern stars in this disturbing shocker about a mentally unbalanced tattoo artist named Karl Kinski, who is hired to put a series of fake tattoos on fashion model Maddy (Maud Adams) as part of an advertising campaign. But Kinski becomes obsessed with Maddy and decides to kidnap her. Keeping her a captive, he uses her body as a living canvas for his tattoo designs. During its initial release, the film raised the ire of feminist groups because of the ad campaign that featured a naked woman bound at the ankles. The film was scripted by Joyce Bunuel, (Luis Bunuel's daughter-in-law). ~ Paul Brenner, Rovi