Kim Greist Movies

Fired for revealing a structural flaw in the building where he worked, hardhat Jim Sullivan (David Andrews) takes a job as a limo driver to support his family. Among his customers is a well-heeled but disreputable character named Stuart Deane (played by episode director Stuart Margolin), who commits a murder on Jim's shift. Monica (Roma Downey) and Tess (Della Reese)show up as Federal agents assigned to guard the Sullivan family as Jim prepares to testify against Deane. But before he can truly be "safe", Jim must first make amends for his willingness to accept money in exchange for his silence--and for the fact that he'd figured out what Deane was planning long before he pulled the trigger! ~ Hal Erickson, Rovi

Two dogs and a cat, separated from their human family, must find their way home and face the dangers of a big city for the first time in this adventure story for the whole family. Bob Seaver (Robert Hays) and his wife Laura (Kim Greist), who live in Northern California, are taking their kids on a camping vacation in Canada, and they're bringing along their pets -- spunky bulldog Chance (voice of Michael J. Fox), self-centered Himalayan cat Sassy (voice of Sally Field), and wise old Golden Retriever Shadow (voice of Ralph Waite). However, Chance doesn't like being cooped up in his travelling cage at the airport, and when he escapes, Sassy and Shadow follow him to the nearest city, San Francisco. After a scary night on their own, the trio are befriended by a gang of stray dogs and cats who have learned to live on their own after running away from their cruel masters. However, Chance, Sassy, and Shadow soon realize that life on the streets is not for them, and they set out to find the Seaver house they call home. Sports fans take note: Bob Uecker, Tommy Lasorda, and Al Michaels appear as themselves and also provide the voices of their pets. The voice of Shadow was performed by Don Ameche in the preceding film Homeward Bound; it proved to be Ameche's last film released before his death in late 1993 (his final film, Corrina, Corrina, didn't reach theaters until several months after his passing), leading the producers of this sequel to cast Ralph Waite in the role. ~ Mark Deming, Rovi

Originally made for cable television, Roswell is an entertaining mix of purported actual events and science fiction. The narrative unfolds primarily in flashbacks as retired Army officer Jesse Marcel (Kyle MacLachlan) attends a reunion of the 509th Bomber Group and tries to come to closure on events that had taken place 30 years earlier. Back in 1947, Major Marcel had been part of a military team that investigated a crash site on a ranch near Roswell, New Mexico. The debris recovered from the site had exhibited some remarkable properties such as being able to repair itself instantly after being cut, suggesting that it might have been of extraterrestrial origin. The military brass had ordered Marcel to go along with their phony story that the material was ordinary metal foil from a weather balloon, and he had reluctantly complied. By the time of the 1977 reunion, Marcel is suffering from a terminal illness, and he feels compelled to try to find out what had really happened at Roswell all those years ago. MacLachlan gives an effective performance, particularly when he portrays Marcel as an older man trying to understand his past. Evocative location shooting in the American Southwest adds cinematic impact. ~ Rovi

A woman loses her son and brother in a mysterious accident which yielded no bodies. Understandably distraught, she is hardly prepared to confront her "dead" brother, now hale and hearty. But the man insists that he's never seen her before. Together with her husband, our heroine investigates this puzzler, uncovering an insidious plot to create a "new" race of humans by wiping out their memory banks. Kim Griest, Gregory Harrison, Cicely Tyson and Kevin McCarthy star in the made-for-TV Duplicates, which made its debut over the USA Cable Network on March 18, 1992. ~ Hal Erickson, Rovi

In this comedy, the ancient curse of a priceless ruby, known as the Byzantine Fire, comes into play when it is accidentally stolen by a group of thieves, headed by Gus Cardinale (Christopher Lambert). The crooks soon discover that their heist might have been more trouble than it was worth when they are pursued by the police, the CIA, the Turkish government, and the local underworld. ~ Iotis Erlewine, Rovi

Sally Field goes the Roseanne route in Punchline. Field plays a housewife and mother who suddenly develops the urge to be a comedienne. Her comic instincts are on target, but her timing and delivery stinks. Tom Hanks, a stand-up comic with a few years' experience under his belt, offers to teach Field the ropes. As they get to know each other, Hanks and Field begin to pick up on each other's shortcomings; though Hanks has far more talent than Field, for example, he has a positively ruinous habit of expressing his deep-down dislike of everyone else in the world, and this frequently alienates his audience. Writer-director David Seltzer times Punchline like a good joke; he continually sets up for the expected, then pulls a last-minute fast one, keeping the film lively and unpredictable throughout. The supporting cast, coincidentally including future Roseanne star John Goodman, is uniformly superb. ~ Hal Erickson, Rovi

Paul Verhoeven's American breakthrough film, Robocop, is an exceedingly violent blend of black comedy, science fiction, and crime thriller. Set in Detroit sometime in the near future, the film is about a policeman (Peter Weller) killed in the line of duty whom the department decides to resurrect as a half-human, half-robot supercop. The RoboCop is indestructible, and within a matter of weeks he has removed crime from the streets of Detroit. However, his human side is tortured by his past, and he wants revenge on the thugs who killed him. The film was later followed by two feature-length sequels and a live-action television series, neither of which were as successful as the original film. ~ Stephen Thomas Erlewine, Rovi

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, Rovi