Ulu Grosbard Movies

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

Falling in Love can be described as an urban American Brief Encounter. Reteamed for the first time since The Deer Hunter, Robert De Niro and Meryl Streep star as a married couple. Thing of it is, they're not married to each other. While Christmas shopping for their respective families, architect Frank Raftis (DeNiro) and graphic artist Molly Gilmore (Streep) "meet cute," their holiday packages becoming mixed up. What starts as a pleasant chance acquaintance blossoms into romance. Inevitably, however, both parties realize that what they're doing is wrong--a shade too late to save their marriages, as it turns out. The film ends with a bittersweet "one year later" coda. The natural charisma of its stars lends distinction to the otherwise so-so Falling in Love. ~ Hal Erickson, Rovi

Paroled criminal Max Dembo (Dustin Hoffman) is compelled to withstand the calculated cruelties of slimy parole officer Earl Frank (M. Emmet Walsh). The more Max tries to go straight, the more he is defeated by circumstance or hectored by the sadistic Frank. It becomes clear after a while that neither Max nor his fellow ex-cons will be able to survive looking for legitimate work. Max is too "far gone" as a human being to succeed at anything other than crime. He goes back to his old thieving ways, inveigling reformed crook Jerry Schue (Harry Dean Stanton) into helping him. A climactic "big caper" goes tragically awry, thanks in great part to the tragic flaws in Max's personality. Based on a novel by Edward Bunker, Straight Time is possibly the most realistic cinematic probe into the sociopathic psyche of the career criminal. Famed theatrical director and instructor Ulu Grosbard directed, with an uncredited assist from star Hoffman; it was their second film together, after Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? ~ Hal Erickson, Rovi

Frank D. Gilroy's Pulitzer-winning "kitchen sink" theatrical piece The Subject Was Roses was given a no-frills film transference in 1968. Martin Sheen and Jack Albertson re-create their stage roles as a returning serviceman and his alcoholic father. Patricia Neal takes over from the play's Irene Dailey as Nettie Cleary, Timmy's (Sheen) overly protective mother, long at odds with husband John (Albertson) over his drinking. Mother and Father try to put on a facade of happiness for the benefit of their son, but soon the three of them are squabbling again, just as if the boy had never been away. With the exception of adding a few extraneous characters, the film version of The Subject Was Roses is essentially the same as its 1964 Broadway counterpart. The film helped establish the career of Martin Sheen, launched a whole new dramatic career for Jack Albertson, and represented a triumphant comeback for Patricia Neal, who'd recently recovered from a debilitating stroke. ~ Hal Erickson, Rovi

Based on William Gibson's Broadway play and retaining its acclaimed cast, Arthur Penn's The Miracle Worker tells the true story of Helen Keller (Patty Duke), an Alabama girl struck blind and deaf as a baby after an elevated fever. Enter Annie Sullivan (Anne Bancroft), a partially-blind woman assigned the task of teaching Helen sign language. After first separating Helen from her over-protective parents (Victor Jory and Inga Swenson), Annie begins the arduous process of teaching the girl. ~ Jason Ankeny, Rovi

1961's premiere "date" movie represented the screen debut of Warren Beatty. Set in the 1920s, William Inge's screenplay concerns the superheated romance between working-class high schooler Natalie Wood and rich kid Beatty. Trying their best to keep their relationship from going "all the way," Beatty and Wood go through a series of unsatisfying interim romances. The troubled Wood attempts suicide and is sent to a mental institution, while Beatty impregnates freewheeling waitress Zohra Lampert. Wood and Beatty still carry a torch for one another, but circumstances preclude their getting together -- and besides, Wood suddenly realizes that she's outgrown the still-floundering Beatty. Scriptwriter William Inge shows up as a minister in Splendor in the Grass, while comedienne Phyllis Diller does a cameo as famed nightclub entertainer Texas Guinan; also, keep an eye out for Sandy Dennis, making her first movie appearance. ~ Hal Erickson, Rovi