Thom Mount Movies

Stephen Frears, the director who bolstered his international reputation with his Choderlos de Laclos adaptation Dangerous Liaisons (1988), returns to the annals of period intrigue over 20 years later with this melodrama, which reunites him with Liasons scripter Christopher Hampton and star Michelle Pfeiffer. An adaptation of Colette's 1920 novel of the same name, the tale unfurls in late 19th century Paris -- La Belle Époque -- where numerous courtesans (or female companions of noblemen who occupied the royal courts) have worked their way up through the ranks of high society. Two retired courtesans, Charlotte Peloux (Kathy Bates) and Lea (Michelle Pfeiffer), meet for some routine gossip; Lea then meets Charlotte's hedonistic playboy son, nicknamed "Chéri" (Rupert Friend), and a passionate, erotic affair blossoms for the next six years between Lea and Chéri. Eventually, Charlotte makes an aggressive attempt to interfere with the situation by setting up an arranged marriage between Chéri and the virginal 18-year-old Edmée (Felicity Jones), the daughter of another ex-courtesan, Marie-Laure (Iben Hjejle). Lea feels irritated, and responds by seeking out young male lovers during a vacation in Biarritz, but the attached Chéri is not far behind, and in seemingly no time at all the two resume their bedroom liaisons. ~ Nathan Southern, Rovi

A lawyer discovers just how fine the line between good and evil can be in this drama based on the novel Tainted Evidence by Robert Daley. When a carefully-planned bust of drug dealer Jordan Washington (Shiek Mahmud-Bey) goes sour, a shootout between Washington and officers from three precincts leaves a number of cops dead or wounded. Washington escapes in the confusion, but he turns himself in on the advice of gadfly lawyer Sam Vigoda (Richard Dreyfuss). District Attorney Morgenstern (Ron Leibman) appoints Sean Casey (Andy Garcia), a former cop new to trial law, to prosecute the case, less for his legal expertise than because Sean's father, Liam (Ian Holm), was one of the injured officers, guaranteeing good press. Despite Vigoda's allegations of widespread police corruption, Sean scores an easy victory in the case; Washington is behind bars, and the young lawyer's career is on the rise; however, the discovery of a dead body confirms suspicions that Vigoda's allegations have a basis in fact, and Sean learns that his father may be in on a police cover-up. Night Falls on Manhattan also features Lena Olin as Sean's girlfriend and James Gandolfini as Liam's partner. ~ Mark Deming, Rovi

A frenetic, bloody look at mass murder and the mass media, director Oliver Stone's extremely controversial film divided critics and audiences with its mixture of over-the-top violence and bitter cultural satire. At the center of the film, written by Stone and Quentin Tarantino, among others, are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), a young couple united by their desire for each other and their common love of violence. Together, they embark on a record-breaking, exceptionally gory killing spree that captivates the sensation-hungry tabloid media. Their fame is ensured by one newsman, Wayne Gale (Robert Downey, Jr.), who reports on Mickey and Mallory for his show, American Maniacs. Even the duo's eventual capture by the police only increases their notoriety, as Gale develops a plan for a Super Bowl Sunday interview that Mickey and Mallory twist to their own advantage. Visually overwhelming, Robert Richardson's hyperkinetic cinematography switches between documentary-style black-and-white, surveillance video, garishly colored psychedelia, and even animation in a rapid-fire fashion that mirrors the psychosis of the killers and the media-saturated culture that makes them popular heroes. The film's extreme violence -- numerous edits were required to win an R rating -- became a subject of debate, as some critics asserted that the film irresponsibly glorified its murderers and blamed the filmmakers for potentially inciting copy-cat killings. Defenders argued that the film attacks media obsession with violence and satirizes a sensationalistic, celebrity-obsessed society. Certain to provoke discussion, Natural Born Killers will thoroughly alienate many viewers with its shock tactics, chaotic approach, and disturbing subject matter, while others will value the combination of technical virtuosity and dark commentary on the modern American landscape. ~ Judd Blaise, Rovi

Legendary low-budget mogul Roger Corman made a somewhat inauspicious return to the director's chair for the first time in nearly twenty years (unless one counts his uncredited participation in "pickup" shoots for several New World Pictures productions) for this quaint sci-fi/horror outing, based on the popular novel by Brian Aldiss. Opening in the year 2031, the story begins with scientist Joseph Buchanan (John Hurt) working on a top-secret military project that creates a rift in time in space, hurtling him and his ultra-high-tech hotrod backwards through time to the early 19th century. Buchanan manages to adapt quite well to his new surroundings, particularly after making the acquaintance of fellow scientist Baron Frankenstein (Raul Julia). Curiously, the Baron is presented here as an authentic historical figure, and his monster-making efforts the basis for the famed book by Mary Shelley (Bridget Fonda), which was a work of fiction. After ruminating about his situation with Mary and her future husband Percy Shelley (late INXS frontman Michael Hutchence) at the villa of mad poet Lord Byron (Jason Patric), Buchanan is approached by the Baron to help construct a mate for his intelligent but homicidal creature (Nick Brimble). Unfortunately, things do not go according to plan, leading to an ironic denouement that finds Buchanan pondering the apocalyptic results of his life's work. The film boasts solid production values and some beautiful location photography (most of the film was shot in Italy); however, the classy look and high-profile casting can't disguise the overall feel of an early New World outing, albeit with a much larger budget. The script, adapted by Corman and writer F.X. Feeney, eliminates many of the novel's intellectual twists and turns; much of the remaining dialogue comes off as merely pretentious. ~ Cavett Binion, Rovi

For his first directorial project in six years, Robert Towne selected a timeworn romantic-triangle yarn, injecting the material with subtlety and conviction. Tequila Sunrise stars Mel Gibson and Kurt Russell as two lifelong friends who, in true James Cagney-Pat O'Brien fashion, grow up on the opposite sides of the law. One is a retired drug dealer (at least he says he is), the other a "celebrity" cop. Both fall in love with gorgeous restaurateur Michelle Pfeiffer. Veteran movie buffs will enjoy spotting director Budd Boetticher as a judge, and will welcome the presence in the production credits of cinematographer Conrad Hall, who earned an Oscar nomination for his richly textured color camerawork. ~ Hal Erickson, Rovi

Following the disastrous Pirates (1986), director Roman Polanski got back on creative track with this finely-wrought thriller that, while failing to impress at the box office, was nevertheless his most critically well-received film of the decade. Harrison Ford stars as Richard Walker, an American doctor who has come to Paris, where he's scheduled to deliver a paper to a medical conference. Richard has brought along his wife Sondra (Betty Buckley), because Paris was the site of their honeymoon 20 years earlier. Sondra picks up the wrong suitcase at the airport, which leads to her kidnapping and an ever-more complicated quest that takes Richard into the seedy and dangerous underworld of European drug smuggling and terrorist arms sales. Along the way, he is rebuffed by skeptical officials at the American Embassy and meets Michelle (Emmanuelle Seigner), a sexy courier who agrees to help him in exchange for the money she's owed for trafficking in narcotics. Playing cleverly on American fears about Europe's Byzantine politics and "decadent" society, Frantic received, from many observers, perhaps the greatest compliment possible for a thriller, comparison to the work of Alfred Hitchcock. ~ Karl Williams, Rovi

Borrowing a chapter from the John Hughes school of teen comedy, this likeable caper was a box office success. Patrick Dempsey stars as Ronald Miller, a high school nerd about to enter his senior year, who longs for acceptance as one of the "cool kids." His next-door neighbor Cindy Mancini (Amanda Peterson) is a cheerleader and one of the most popular girls in school, but she doesn't even know that Ronald exists. When she ruins an expensive outfit of her mother's, Ronald offers the $1,000 needed to replace it, if she will pretend to date him for one month. Although skeptical about Ronald's plan, Cindy agrees, and her "new boyfriend" turns out to be right about what he thinks dating Cindy will do for him -- he becomes accepted by the school's snobs because of his association with one of their own. At least, for a while. Originally titled "Boy Rents Girl," Can't Buy Me Love (1987) was the first production launched by former studio executive Thom Mount after leaving his high-profile post. His company went on to produce weightier material such as Bull Durham (1988), The Indian Runner (1991), and Natural Born Killers (1994). ~ Karl Williams, Rovi

Although the title evokes a swashbuckling adventure, Roman Polanski's Pirates tuns out to be a seagoing tale with a bit of a difference. Captain Red (Walter Matthau) runs a hardy pirate ship with the able assistance of Frog, a dashing young French sailor (Cris Campion). One day Capt. Red is captured and taken aboard a Spanish galleon, but thanks to his inventiveness, he raises the crew to mutiny, takes over the ship, and kidnaps the daughter of the governor of Maracaibo (Charlotte Lewis, soon to co-star in The Golden Child opposite Eddie Murphy). The question is, can he keep this pace up? ~ Eleanor Mannikka, Rovi