Ellen Greene

Ambitious young advertising man Phillip Fielder (Chad Lowe) has no time for relationships, and seems to have affection only for his creature comforts -- a source of great dismay for his erstwhile girlfriend, Holly Ford (Marin Hinkle). When his orphaned nephew, an autistic eight-year-old named Zachary (K'Sun Ray), comes to live in Phillip's lavish apartment, Phillip wants no part of surrogate fatherhood and tries to pass the youngster along to his cousin Rose (Miriam Flynn), who happens to live near a group home for special children. But Zach nixes this idea and insists upon living with Phillip, thus throwing together two extremely self-absorbed, obsessive-compulsive characters under one roof. This being a Hallmark Channel presentation, Fielder's Choice will undoubtedly work its way toward a happy and heartwarming finale, though it definitely takes some doing! The film made its TV bow on June 18, 2005. ~ Hal Erickson, All Movie Guide

Writer/director Wayne Kramer offers a glimpse into the aging Las Vegas casino world with the romantic drama The Cooler. Bernie Lootz (William H. Macy) is extremely unlucky at gambling, and he owes the Shangri-La casino over 100,000 dollars. He is so unlucky that he is hired as a "cooler," someone to gamble next to high rollers and give them some of his bad luck to stop them from winning. This arrangement works out for awhile, until Bernie has almost paid off his debt and meets cocktail waitress Natalie Belisario (Maria Bello). The two start to fall in love and Bernie's luck begins to change. However, the old-fashioned mob boss Shelly Kaplow (Alec Baldwin) isn't going to let Bernie go so easily. Meanwhile, Larry Sokolov (Ron Livingston) arrives on the scene to help update the business management of the old mobster-run casino. Also starring Joey Fatone and Paul Sorvino as lounge singers. The Cooler was nominated for the Grand Jury Prize in the dramatic competition at the 2003 Sundance Film Festival. ~ Andrea LeVasseur, All Movie Guide

Music video cinematographer Zack Winestine made his debut as a writer and director with this deeply psychological drama about an angst-ridden New York City woman, Lisa (Jennifer Van Dyck), who embarks on a quest to achieve an authenticity that her complacent existence lacks. An office manager for an underground Manhattan theater, Lisa feels that her life and her marriage to an impotent professor, Abel (Stephen Bogardus), are going nowhere fast. After she decides not to sleep anymore, Lisa embarks on a series of choices that seem ill-advised and impulsive, including an affair with a bitter, cynical stage director, Paul (John Cunningham), who preaches a neo-fascist philosophy. Lisa also takes an interest in the seamy world of pornography, which her actress friend Carol (Ellen Greene) knows all too much about -- but Lisa's nerve fails her in her effort to mimic Carol's sexual liberation. A fresh start on the West Coast with her husband fails to assuage the inner torment of the increasingly militant and violent Lisa. ~ Karl Williams, All Movie Guide

The sixth-season opener of Law & Order finds detective Lennie Briscoe (Jerry Orbach) teamed with a new partner, Rey Curtis (Benjamin Bratt). For their first assignment together, Briscoe and Curtis try to piece together the last hours in the life of a murdered girl, using an ATM machine film to determine what happened to the victim between her classroom and her music lesson. The results of the investigation lead to a revenge killing -- which many observers regard as "justice." ~ Hal Erickson, All Movie Guide

The further misadventures of bumbling Los Angeles police Lieutenant Frank Drebin (Leslie Nielsen) are chronicled in this third installment in the popular Naked Gun comedy series. This by-the-numbers entry begins with Drebin as a happily retired house-husband called back into action when an evil terrorist organization threatens Los Angeles. As in the other Naked Gun films, this plot is merely an excuse for an unhinged, rapid-fire succession of gags, ranging from satirical lampoons of cop movies to broad slapstick, all played with a perfectly straight face. Nielsen provides his familiar combination of complete witlessness and oblivious dignity as Drebin, and the film attempts to match the earlier Naked Gun films -- and the Police Squad! television series that inspired them -- in the number of jokes. However, the film proved less successful than its predecessors, as some viewers found that the freewheeling comic style of the earlier films had solidified into its own formula, now mildly entertaining but disappointingly predictable. ~ Judd Blaise, All Movie Guide

As visually stylish as it is graphically violent, this thriller directed by Luc Besson concerns Mathilda (Natalie Portman), a 12-year-old girl living in New York City who has been exposed to the sordid side of life from an early age: her family lives in a slum and her abusive father works for drug dealers, cutting and storing dope. Mathilda doesn't much care for her parents, but she has a close bond with her four-year-old brother. One day, she returns from running an errand to discover that most of her family, including her brother, have been killed in a raid by corrupt DEA agents, led by the psychotic Stansfield (Gary Oldman). Mathilda takes refuge in the apartment of her secretive neighbor, Leon (Jean Reno), who takes her in with a certain reluctance. She discovers that Leon is a professional assassin, working for Tony (Danny Aiello), a mob kingpin based in Little Italy. Wanting to avenge the death of her brother, Mathilda makes a deal with Leon to become his protégée in exchange for work as a domestic servant, hoping to learn the hitman's trade and take out the men who took her brother's life. However, an affection develops between Leon and Mathilda that changes his outlook on his life and career. Besson's first American film boasted a strong performance from Jean Reno, a striking debut by Natalie Portman, and a love-it-or-hate-it, over-the-top turn by Gary Oldman. Léon was originally released in the U.S. in 1994 as The Professional, with 26 minutes cut in response to audience preview tests. Those 26 minutes were restored in the director's preferred cut, released in 1996 in France as Léon: Version Intégrale and in the U.S. on DVD as Léon: The Professional in 2000. ~ Mark Deming, All Movie Guide

After his wife dies, Max Fish (Jeff Goldblum) trades in his directing career for the life of a New Jersey bookstore owner. As Max struggles to overcome his drinking problem, his moody son Ed (Rory Cochrane) tries out a drug scene of his own, and the two try to work out their changing father-and-son relationship. ~ Iotis Erlewine, All Movie Guide

Teenage angst finds a new voice in this drama. By day, Mark Hunter (Christian Slater) is a quiet, studious student at an ordinary suburban high school in Arizona. But at night, Mark creeps down into his basement, fires up his pirate radio transmitter, and broadcasts to the community as Hard Harry, a sexually obsessed social commentator who passes along angry philosophy about the state of teenage life when not blasting punk rock or gangsta rap cuts. Hard Harry's sworn nemesis is high school principal Mrs. Cresswood (Annie Ross), who keeps SAT scores up at the expense of her students' dignity and individuality by eliminating "troublemakers" from the student body. Hard Harry's broadcasts, however, have become a rallying point for the school's misfit underclass, and Mrs. Cresswood is determined to track down the mystery student and bring him to justice (broadcasting without a license, he's not merely an annoyance, but a criminal). The war against Hard Harry intensifies when he broadcasts data from confidential school board reports; Mark's father is a school commissioner, but he has no idea what his son is doing in the basement. Meanwhile, Mark gains the attentions of Nora (Samantha Mathis), who has figured out who he becomes at night. More serious and intelligent than the average teen film, Pump Up the Volume was written and directed by Allan Moyle, who previously dealt with disaffected, music-obsessed teens in Times Square and would return to them with Empire Records. ~ Mark Deming, All Movie Guide

Dinner at Eight is a TV remake of the 1933 MGM film of the same name; both films were adapted from the play by George S. Kaufman and Edna Ferber. While the basic plot point of a social-climbing woman (Marsha Mason) throwing a "best people" dinner party has not dated all that much, other elements prevalent in the 1933 version were due for an overhaul 56 years later. The aging, near-impoverished stage actress played con brio by Marie Dressler in the original becomes a jet-setting "literary raconteur" (read: "trash novelist") in the form of Lauren Bacall. And the alcoholic matinee idol portrayed by John Barrymore in 1933 is transformed into a Pacino type (Harry Hamlin) with a drug and attitude problem for the 1989 version. While not exactly improvements, these alterations do not stand out like sore thumbs, as do many past attempts at updating old material. Only Ellen Greene, in Jean Harlow's role as the floozielike wife of a corrupt businessman, falls short of the original. Produced by actress Shelley Duvall, the 1989 Dinner at Eight was first shown on December 11, 1989 over the TNT Cable network. ~ Hal Erickson, All Movie Guide

Monologist Eric Bogosian's one-man theatre piece Talk Radio, co-written by Bogosian and Ted Savinar, is searingly brought to the screen by Oliver Stone. Bogosian plays a provocateur radio talk-show host, whose constant espousal of his inflammatory views and ceaseless hectoring of his callers and listeners reaps equal parts love and hate. As his program rolls on, Bogosian is revealed to be just as screwed up as any of his fans, if not more. And then he pushes one caller just a bit too far. In co-adapting the play for the screen, Oliver Stone interweaves elements of Steven Singular's factual book Talked to Death, the story of a liberal Denver radio personality who was murdered at the behest of a militant right-wing hate group. One word of warning: if you're not a fan of the sort of radio depicted herein, chances are you won't warm up to this film. Talk Radio was the indirect inspiration for the 1990 TV series Night Caller. ~ Hal Erickson, All Movie Guide

Jill Clayburgh plays, as one character calls her, "a pill-popping dingbat" in this film adaptation of television producer Barbara Gordon's autobiographical account of her addiction to prescription drugs. Clayburgh plays Gordon in the film as a successful television documentary filmmaker whose mounting pressures force her to pop a Valium or two for nerves. She then ingests a few more pills after an argument with boyfriend Derek Bauer (Nicol Williamson). And thus begins her slow and steady compulsion to keep taking more and more Valium. Finally realizing her addiction, Gordon makes a disastrous attempt to go cold turkey but fails miserably, finally having to undergo a painful rehabilitation in an institution. ~ Paul Brenner, All Movie Guide