Mary Kane Movies

This three-part drama, produced for HBO, examines the changing tides of the lives of lesbians in America, both politically and personally, as we eavesdrop on three stories taking place in the same house over a span of five decades. In 1961, the house is home to Edith (Vanessa Redgrave) and Abby (Marian Seldes), an elderly lesbian couple whose lifestyle is not accepted or acknowledged by their families. When Abby suffers a serious stroke and is on the verge of death, her family rallies to her side, but not understanding the nature of her relationship with Edith, she is not included as her loved ones say their final good-byes. After Abby's death, her nephew (Paul Giamatti) and his wife (Elizabeth Perkins) arrive from out of state with plans to sell the house, without consulting Edith. In 1972, the house is now home to four college students, Michelle (Amy Carlson), Linda (Michelle Williams), Karen (Nia Long), and Jeanne (Natasha Lyonne), all of whom are actively involved in the women's movement and also happen to be lesbians. The four find themselves at odds with the campus women's group when they try to promote an all-women's dance, while the other members of the group feel that feminism, not lesbianism, should be the focus of the group. Similarly, Linda faces hostility from her friends when she becomes involved with Amy (Chloe Sevigny), a very butch townie; Linda's friends see Amy's masculine attire and attitude as a form of self-loathing against being a woman, and while Linda cares deeply for Amy, she's not always comfortable with her and isn't sure that she wants to be public with their relationship. In 2000, Fran (Sharon Stone) and Kal (Ellen DeGeneres), a happy and firmly committed couple, are sharing the house, and after much discussion, they decide that they want to take their relationship to the next level and have a baby. However, deciding that they want a child and dealing with the practicalities of getting pregnant are two different things; Fran and Kal first debate about going to a sperm bank as opposed to asking one of their male friends to help out, and later, either going to a doctor to perform the procedure or trying it at home. DeGeneres' significant other, Anne Heche, wrote and directed the final segment; the 1972 story was directed by Martha Coolidge, and the 1961 episode was directed by Jane Anderson. ~ Mark Deming, All Movie Guide

After giving George of the Jungle human form, Brendan Fraser returns to cartoon-land with another live-action update of an animated TV classic. Set in the peaceful village of Semi-Happy Valley high in the Canadian Rockies, our story focuses on Dudley Do-Right (Fraser), a member of the Royal Canadian Mounted Police who never lets his lack of intelligence get in the way of his dedication and determination to get his man. Dudley's superior, Inspector Fenwick (Robert Prosky), displays a bemused tolerance towards Dudley's enthusiastic ineptitude, and Dudley is beguiled by the Inspector's daughter, Nell (Sarah Jessica Parker), who has made a home in Seattle after traveling the world, but is now paying her father an extended visit. Before Dudley can make much of a (positive) impression on Nell, the evil Snidely Whiplash (Alfred Molina) enters the picture. Determined to take Semi-Happy Valley for everything it's worth, Snidely sends Dudley in search of vampires hiding in the woods, and, while he's away, plants gold nuggets in a nearby stream. When a prospector (Eric Idle) happens upon them, word gets out that Semi-Happy Valley is gold country. Quickly opening a string of businesses to cater to the flood of would-be gold miners, Snidely becomes the town's richest citizen, and Semi-Happy Valley is even renamed Whiplash City. Snidely's fame and wealth gain Nell's attention, while Dudley's search for vampires causes the Inspector to fire him. However, in time, Dudley realizes that something is afoot, and he is determined to expose Snidely Whiplash and bring him to justice. Director Hugh Wilson wrote and directed the first film in the Police Academy series; Dudley Do-Right was his second directorial credit of 1999 with Brendan Fraser, after they worked together on Blast From the Past. ~ Mark Deming, All Movie Guide

A Jewish high school teacher, Phyllis Saroka (Rhea Perlman), steps in to take on the thankless job of coaching the school's inept basketball team, which is filled with ne'er-do-wells from the slums. She takes the job to get extra money to fulfill her dream of opening a restaurant on the Caribbean island of St. Croix. Phyllis has had bad luck with men, is dissatisfied with her teaching job, and is desperate to do something meaningful as she approaches middle age. Meanwhile, the players on the team are ambitious only about scoring drugs and girls and inventing their own rap songs. Butter (James Harris) is the team's only really talented player, but he wastes most of his energy chasing skirts. Busy-Bee (De'Aundre Bonds) is a small but highly energetic goofball. The mind of Spaceman (Terrence Dashon Howard) has been diminished by learning disabilities and drugs. Phyllis's greatest challenge is the brilliant, moody Shorty (Fredro Starr). Shorty teaches Phyllis the game, but he feels betrayed when he learns that she is planning to leave after one season. Perlman's husband, Danny DeVito, served as the film's producer. ~ Michael Betzold, All Movie Guide

A mix of political satire and a modern take on 1930's-style screwball comedy, this romance from director Ron Underwood was assumed by many to be based on the real-life relationship between liberal political consultant James Carville and conservative commentator Mary Matalin. Michael Keaton stars as Kevin, an insomniac who meets Julia (Geena Davis) in a store late one night as they haggle over the last bottle of sleeping pills. After spending a romantic evening together, Kevin and Julia each discover to their chagrin that the other is a rival speechwriter in a nasty New Mexico senatorial campaign. As the senate race heats up, the bickering pair tries to keep the relationship alive, but then Julia's ex-fiance Baghdad Bob Freed (Christopher Reeve), a network news foreign correspondent, shows up with the intention of renewing their relationship. ~ Karl Williams, All Movie Guide

If police lieutenant Harvey Keitel's life could get any more sordid, he could probably sell tickets. The least of his vices is gambling, which has gotten him in Dutch with the mob. He abuses his body with drugs and his soul with hookers, and now he's turned to exploiting teenage girls for sex. Keitel is forced to reassess his life while investigating the rape of a nun. Director Abel Ferrara co-wrote the screenplay with Zoe Lund, who as Zoe Tamerlis starred in Ferrara's cult classic Ms. 45. A soundtrack tune by rapper Schoolly D, which was included in the initial release of Bad Lieutenant, featured a sample from Led Zeppelin which was used without permission; the song has since been excised from the soundtrack. ~ Hal Erickson, All Movie Guide

Mr. and Mrs. Bridge (played by real-life "Mr. and Mrs." Paul Newman and Joanne Woodward) are well-to-do residents of Kansas City in the 1940s. So far as the Bridges are concerned, however, it's the 1920s, with Mr. Bridge treating his wife like property, regarding his grown children as if they're still adolescents, and habitually voting against that upstart Roosevelt. Though the underlying painfulness of such an archaic arrangement is never ignored, Mr. Bridges' obstinancy is for the most part amusing. The scene that seemed to please the audience most was the one in which Mr. Bridge orders Mrs. Bridge not to leave their table at their country club despite tornado warnings (they sit quietly in the deserted dining room while the building shakes and shudders). As for Mrs. Bridge, her "life" is totally defined by those around her--which in any other film would be a tragedy, but which here seems a logical extension of all that's gone before. Based on two separate novels by Evan S. Connell, Mr. & Mrs. Bridge is a rare excursion into Americana by the Ismail Merchant-James Ivory team. ~ Hal Erickson, All Movie Guide

In Call Me a lonely, frustrated journalist for an alternative newspaper begins receiving intriguing erotic telephone calls, calls which trigger her own fantasies and leads her into danger. Anna (Patricia Charbonneau) is having an affair with Alex (Sam Freed), who travels frequently and has little time for her. She meets an interesting stranger named Jellybean (Stephen McHattie) in a local bar and begins to believe that he might be the source of the erotic calls. As the calls increase in frequency and become more explicitly sexual, Anna finds herself increasingly aroused and interested. Call Me, despite a sometimes contrived plot, is well-directed by Sollace Mitchell who uses her strong cast to explore the outer-limits of sexual desire and obsession. Charbonneau is excellent as Anne, and Patti D'Arbanville as her friend Con gives a refreshing, relaxed and convincing performance. Steve Buscemi, one of the finest contemporary character actors, gives one of his usual satisfying performances as the creepy Switch Blade who menaces Anne. The film's "surprise" ending will surprise only the most unsophisticated viewer, but the film, because of its great cast and excellent direction is a fresh, exciting thriller with an interesting twist. ~ Linda Rasmussen, All Movie Guide

Undeservedly thrashed by mainstream critics in its initial theatrical run, this stylish urban thriller from quirky director Abel Ferrara has since developed a modest cult following. The late Zoe Tamerlis stars as Thana, a mute seamstress in New York's Garment District who is raped by two different assailants in a single evening -- once on her way home, a second time in her apartment by a sleazy burglar (Peter Yellen). She manages to bludgeon her second attacker to death with an iron, keeping his .45 automatic and disposing of his body one piece at a time in various locations throughout the city. When a bystander tries to apprehend her after watching her dispose of another grisly piece of evidence, she shoots him dead with the automatic. This act of violent release triggers a latent misanthropic impulse in the waifish Thana -- who was not very stable to begin with -- and she begins pumping hot lead into any predatory male she can find. The bloodbath continues unabated until the surreal, Sam Peckinpah-inspired climax, in which our anti-heroine escapes a Halloween party to square off against multiple male foes while wearing a nun's habit and blood-red lipstick. This film could be viewed as a distaff version of Ferrara's Driller Killer; where the director's previous effort was purely nihilistic, with a killer driven by urban decay, here he depicts Thana as a gun-toting agent of revenge who seems to have absorbed the collective anger of wronged women everywhere -- including women exploited in other movies of the same genre. ~ Cavett Binion, All Movie Guide