Elliott Kastner Movies

Romeo and Juliet gets updated -- and played for laughs -- in this romantic comedy set in the City Island section of the Bronx. Mike and Sadie Cappamezza (Joseph Bologna and Lainie Kazan) are a hard-working couple who have run a family-style Italian restaurant for years. The Cappamezzas' fiercest rivals have long been Count and Countess Malacici (Paul Sorvino and Barbara Carrera), who operate a pretentiously upscale Neapolitan eatery (and whose titled nobility seems to be in question). The Malacicis don't like the Cappamezzas any more than the Cappamezzas like them, and for years they've been trying to run each other out of business. So no one is pleased when Rosario Cappamezza (Nathaniel Marston), Mike and Sadie's son, and Gina Malacici (Angelina Jolie), the daughter of the Count and Countess, are cast in a student production of Romeo and Juliet -- and annoyance gives way to shock when Rosario and Gina fall in love offstage as well as on. The husband and wife team of Joseph Bologna and Renee Taylor co-wrote and co-directed this film; Taylor also appears in a small role as a psychic. While completed in 1994, Love Is All There Is didn't enjoy a theatrical release until 1996. ~ Mark Deming, Rovi

After the phenomenal box-office and critical success of David Cronenberg's 1986 remake of The Fly, a series of big-budget remakes of '50s horror favorites rode in on its coattails in the late 1980s -- though none managed to rise above mere camp clones of their elders, albeit garnished with modern makeup effects in an attempt to draw modern teen horror-junkies. One remake that managed to live up to its cheesy inspiration was Chuck Russell's version of The Blob, in which the title goo crashes to earth and promptly begins digesting the residents of a small California town while growing to gargantuan proportions. The clean-cut teen hero originally portrayed by Steve McQueen (his first starring role) is replaced here with a rebellious outsider (Kevin Dillon) whose preppie rival (Donovan Leitch) for the affections of the cute heroine (Shawnee Smith) is quickly eliminated by the all-consuming space-gelatin. No sooner has the plasma menace set up house in the town sewers when a shadowy government Blob Squad shows up under the direction of the grandfatherly Dr. Meddows (Joe Seneca), to clean up the mess... or not. This high-spirited remake replaces the '50s "Daddy-O" conventions of the original with '80s cynicism -- not even likeable characters are spared from the slaughter -- and anti-government sentiment. It also pushes the gore envelope in ways unavailable to its low-budget parent -- e.g. the scene in which one victim is sucked through a sink drain was only hinted at in the 1958 film, but here viewers are treated to the entire bone-crunching ordeal. Though the quality of blob effects seems inversely proportional to the creature's size (some of the climactic "wall-of-blob" footage is painfully cheap-looking), the end result is more blob for the monster-movie fan's dollar. ~ Cavett Binion, Rovi

Alan Ayckbourn's riotously funny play about a small-time acting troupe in the sticks is brought to the screen by director Michael Winner. Jeremy Irons plays Guy Jones, a mild-mannered flunky for an electronics firm who finds himself transferred to the British seaside town of Scarsborough. Bereft after the death of his wife and seeking a diversion, he tries out for a local amateur opera company's production of The Beggar's Opera. This local company is lorded over by the scabrous and slightly insane Welshman Dafydd Ap Llewellyn (Anthony Hopkins). Dafydd is in a constant rage because of his resentment at having to deal with these rank amateurs who merely try out for his production to pass the time. But his ranting and raving dwindles the number of his cast members with the result that Guy's part in the play is forced to grow larger and more important. But as Dafydd snorts and fumes, he is oblivious to the fact that Guy's increased stature in the production has made him a local lothario. Not only does Guy find himself in the passionate embraces of Fay (Jenny Seagrove), who plays a prostitute in the production, but he also falls into the arms of Dafydd's frumpy and frustrated wife Hannah (Prunella Scales). ~ Paul Brenner, Rovi

The "Jack" who's "back" in this contemporary chiller is none other than Jack the Ripper. The scene is Los Angeles: the time is August of 1988, exactly 100 years after the Ripper's original reign of terror in Whitechapel. When several LA prostitutes turn up murdered and disemboweled, young physician James Spader is accused of emulating Spring Heel'd Jack. Before the film is half over, Spader is killed, and so far as the police are concerned, the case is closed. But then, Spader's twin brother appears on the scene, determined to track down the genuine culprit (if it doesn't turn out to be him, that is!). Handled with restraint, Jack's Back covers much of the same ground as the classic Robert Bloch tale Yours Truly, Jack the Ripper," though its crucial plot twist is a tad more clever (if a bit silly out of context). ~ Hal Erickson, Rovi

Nomads is a scary, supernatural horror movie without blood and guts and gore or bouts of eroticism. Pierce Brosnan is Pommier, an anthropologist who has spent years researching the nomads in some of the coldest and hottest parts of the globe. Apparently, his research went too far, because now he is haunted by evil nomad spirits who do not look much different than some of the '90s teens with purple or green hair, chalky-white faces with dark mascara, and clothes to match. As he starts out hunting down these beings, scenes of a young female doctor (Lesley-Anne Down) fighting off an evil spirit are also shown. ~ Eleanor Mannikka, Rovi

This bittersweet comedy is, among many other things, a tour de force for the marvelous Anne Bancroft. The star is cast as Estelle Rolfe, an unconventional divorcee who resides in New York, in close proximity to her grown son Gilbert (Ron Silver) and his wife Lisa (Carrie Fisher). Though his wife yearns to move back to her home state of California, Gilbert cannot quite cut the silver cord that binds him to his mother. Upon learning that Estelle is dying, her dutiful son offers to honor her last request to meet the reclusive actress Greta Garbo. The rest of the film plays wonderful variations on this theme, involving such peripheral characters as a gay Garbo fan (Harvey Fierstein), an elderly Shakespearean actress (Hermione Gingold), a "female Joe Papp" director (Denny Dillon), and an ageing papparazzi (Howard Da Silva). Without giving away the ending, it is worth noting that the divine Garbo shows up in the person of playwright/lyricist/ performer Betty Comden. ~ Hal Erickson, Rovi

While traveling across Arizona with his divorced mother and her new boyfriend, a precocious young boy stumbles onto a grisly murder scene, placing the three of them in mortal danger at the hands of a pair of good-ol'-boy twin psychopaths. It's hard to tell whether the producers of this film decided to "dress up" a standard slasher script with spooky desert vistas and quality actors (including cuddly little Peter Billingsley, who forever endeared himself to viewers of the perennial favorite A Christmas Story), or rather chose to inject gratuitous T&A and gore scenes into an otherwise more sophisticated Hitchcockian thriller to lure the Friday the 13th crowd. Whatever the motivation, the end result is a muddled mishmash of family drama and sleazy dead-teen mayhem that never found an audience. ~ Cavett Binion, Rovi

The First Deadly Sin was Frank Sinatra's final starring movie vehicle. Based on a novel by Lawrence Sanders, it casts Sinatra as Edward Delaney, a big-city detective on the verge of retirement. Beset with profound personal problems--including a gravely ill wife (Faye Dunaway)--Delaney nonetheless tackles the case of an axe murderer who seemingly strikes at random. Be on the lookout for an unbilled Bruce Willis. ~ Hal Erickson, Rovi

The very healthy looking Susan Anton is appropriately cast in Goldengirl. The daughter of a former Olympic athlete, Goldengirl (that's her name!) has been groomed for athletic competition since childhood. Her hero worship of her dad (Curt Jurgens) comes to an abrupt end when she finds out that he was an intimate of Adolf Hitler and that, through experimentation, he has converted his darling daughter into a near android. Somehow, Goldengirl must regain her humanity and sustain her integrity in the face of a myriad of celebrity endorsement deals. Originally intended as a two-part TV movie to be run in conjunction with the 1980 Olympics, Goldengirl was re-edited and released theatrically when the U.S. pulled out of competition. ~ Hal Erickson, Rovi

Robert Mitchum reprises his role as Raymond Chandler's Philip Marlowe from Farewell, My Lovely, in this misconceived remake of Howard Hawks's classic 1946 film -- transferring the setting from 1940s California to 1970s London. Marlowe is hired by a rich and dying General Sternwood (James Stewart) to find out who is blackmailing him. Marlowe then meets Sterwood's daughters -- the crazy and degenerate Camilla (Candy Clark) and the more even-tempered Charlotte (Sarah Miles). Opening up a can of worms, Marlowe unveils a collection of unsavory characters -- Eddie Mars (Oliver Reed), an inveterate gambler having an affair with Charlotte; Joe Brody (Edward Fox), Camilla's ex-lover; and Agnes (Joan Collins), a sexy bookstore clerk. The plot becomes even more chaotic when it is found that Camilla has been posing in the nude for pornographer Arthur Geiger (John Justin). When Geiger turns up dead, Camilla becomes implicated in Geiger's murder. ~ Paul Brenner, Rovi

Beginning its several incarnations as an Ingmar Bergman film named Smiles of a Summer Night, the story was adapted by composer/lyricist Stephen Sondheim into a successful Broadway musical directed by Harold Prince. This film, also directed by Prince, is adapted from the stage musical. In the movie, in the early 1900s, a group of friends bound together by complicated romantic entanglements, have come together for an elegant dinner at a country estate. The men present are the current, previous, or prospective lovers of the beautiful actress, Desiree (Elizabeth Taylor), and the other women are all united by their jealousy of her. Sadly, Desiree herself wants to simplify things and settle down -- she envies the wives. The adapted score later won an Oscar. The musical's well-known songs include Every Day a Little Death, A Weekend in the Country, and You Must Meet My Wife. The most famous song from the musical, Send in the Clowns, is sung here by Elizabeth Taylor. ~ Clarke Fountain, Rovi