- Wanda and Verna both want their daughters to join the high school cheerleading team. Since Verna's child seems more likely to win, Wanda plans to distract the child by murdering Verna! Based on a true story.Running Time: 99 min. Format: DVD MOVIE Genre:Â ACTION/ADVENTURE Rating:Â R Age:Â 026359087523 UPC:Â 026359087523 Manufacturer No:Â 90875
SAVING GRACE:SEASON 1 - DVD MovieThere are very few television shows that revolve around a single figure to the extent that
Saving Grace does. Then again, there are even fewer that can boast an actor as good as Oscar winner Holly Hunter in the lead role, and Hunter draws on her considerable chops and charms to bring to life a character who, while certainly sympathetic, isn’t always especially likable. Her Grace Hanadarko, a detective working for the Oklahoma City Police Department’s Major Crimes division, is a mess. We’re barely into the pil! ot episode (the first of thirteen comprising the show’s first season) before we discover that her married partner is just one of Grace’s many bedmates (promiscuous is one way to describe her; slut is another), and that she’s a heavy smoker and drinker and a foul-mouthed, habitual liar. And that’s on her good days. There are reasons for all of this, of course--turns out that the death of her sister in the 1995 terrorist bombing that claimed 168 lives is just one of them--but it’s only when Grace commits a particularly stupid and reckless act that the potential for redemption appears in the form of Earl (Leon Rippy), a tobacco-chewing good ol’ boy who just happens to be an angel. A "last chance angel," to be exact, who suggests that if Grace will simply turn herself over to God, good things will ensue.
It won’t be easy. Despite Earl’s good-natured appeals (along with an occasional spectacular display of God’s awesome powers), Grace is nigh on incorrigib! le. And while each episode features a crime of some sort, rang! ing from murder and child abduction to the theft of a million-dollar statue of a steer, creator-writer Nancy Miller (who was an executive producer for The Closer, another TNT series with a strong female lead) focuses much more on Grace’s ongoing struggle to accept Earl’s presence ("Why me?" she asks. "I don’t know," comes the reply) and do something to clean up her life. The show’s bluesy, authentic music (including Everlast’s title tune), dry sense of humor, and sexy tone (Hunter, looking very buff, is nearly nude on numerous occasions) are all positive elements; so’s the supporting cast, especially Rippy and Laura San Giacomo (as a police examiner who’s Grace’s best pal). But Saving Grace is all about Holly Hunter, and by and large that’s a very good thing. Bonus features include audio commentary by Miller and others on two episodes and several short featurettes. --Sam GrahamALWAYS - DVD MovieConsidered by many to represent a low point in Ste! ven Spielberg's career, 1990's Always did suggest something of a temporary drift in the director's sensibility. A remake of the classic Spencer Tracy film A Guy Named Joe, Always stars Richard Dreyfuss as a Forest Service pilot who takes great risks with his own life to douse wildfires from a plane. After promising his frightened fiancée (Holly Hunter) to keep his feet on the ground and go into teaching, Dreyfuss's character is killed during one last flight. But his spirit wanders restlessly, hopelessly attached to and possessive of Hunter, who can't see or hear him. Then the real conflict begins: a trainee pilot (Brad Johnson), a likable doofus, begins wooing a not-unappreciative Hunter--and it becomes Dreyfuss's heavenly mandate to accept, and even assist in, their budding romance. The trouble with the film is a certain airlessness, a hyper-inventiveness in every scene and sequence that screams of Spielberg's self-education in Hollywood! classicism. Unlike the masters he is constantly quoting and e! mulating in Always, he forgets to back off and let the movie breathe on its own sometimes, which would better serve his clockwork orchestration of suspense and comedy elsewhere. Still, there are lovely passages in this film, such as the unforgettable look on Dreyfuss's face a half-second before fate claims him. John Goodman contributes good supporting work, and Audrey Hepburn makes her final screen appearance as an angel. --Tom KeoghCarnelle isn't happy with her life, so in order to improve herself she enters a local beauty contest, trying to emulate her cousin Elain's win many years ago. Few think she can win, even her closest friends and relatives (e.g. slightly mad cousin Delmount) think she's heading for a big disappointment, but Carnelle is ever hopeful, seeing a win as a ticket to escape her small town in Mississippi.Considered by many to represent a low point in Steven Spielberg's career, 1990's Always did suggest something of a temporary drift in ! the director's sensibility. A remake of the classic Spencer Tracy film A Guy Named Joe, Always stars Richard Dreyfuss as a Forest Service pilot who takes great risks with his own life to douse wildfires from a plane. After promising his frightened fiancée (Holly Hunter) to keep his feet on the ground and go into teaching, Dreyfuss's character is killed during one last flight. But his spirit wanders restlessly, hopelessly attached to and possessive of Hunter, who can't see or hear him. Then the real conflict begins: a trainee pilot (Brad Johnson), a likable doofus, begins wooing a not-unappreciative Hunter--and it becomes Dreyfuss's heavenly mandate to accept, and even assist in, their budding romance. The trouble with the film is a certain airlessness, a hyper-inventiveness in every scene and sequence that screams of Spielberg's self-education in Hollywood classicism. Unlike the masters he is constantly quoting and emulating in Always, he f! orgets to back off and let the movie breathe on its own somet! imes, wh ich would better serve his clockwork orchestration of suspense and comedy elsewhere. Still, there are lovely passages in this film, such as the unforgettable look on Dreyfuss's face a half-second before fate claims him. John Goodman contributes good supporting work, and Audrey Hepburn makes her final screen appearance as an angel. --Tom KeoghRichard Dreyfuss and Holly Hunter lead an all-star cast in this critically acclaimed tale of life, love and chance. Jilted by her boyfriend, Renata (Hunter), the oldest daughter of a close-knit Italian-American family, falls in love with Sam (Dreyfuss), an abrasive and forcefully charming businessman. But neither her spirited sister (Laura San Giacomo), her down-to-earth father (Danny Aiello), or her supportive mother (Gena Rowlands) can tolerate Sam's often obnoxious intrusion into their family circle. Aggressive and overwhelmingly generous, Sam proceeds - with only the best intentions - to disrupt and nearly demolish Renata'! s family. Love, humor and forgiveness go once more around as the Bellas try to balance Renata's happiness with their family's survival in this funny and often touching story, directed by Lasse Hallstrom.On the fourth thursday in november 84 million american families will gather together.. And wonder why. Studio: Tcfhe/mgm Release Date: 10/17/2006 Starring: Holly Hunter Steve Guttenberg Run time: 103 minutes Rating: Pg13 Director: Jodie FosterHolly Hunter plays a Chicago-based single mom who--on the day before Thanksgiving--loses her job and is informed by her daughter of the latter's intention to surrender her virginity while on a weekend-long affair. If that's not enough, Hunter's character then has to fly to Baltimore to join her fractious family for another difficult Thanksgiving. Robert Downey Jr. is terrifically charming as her prankish, gay brother, and Anne Bancroft and Charles Durning show plenty of comic resilience during the predictably interesting Thanksgiv! ing dinner scene. The script by W.D. Richter (Brubaker)! avoids the usual clichés in family dramas--the deepest, darkest secret revealed here involves the painfully sweet revelation of a 40-year-old crush. Jodie Foster, directing her second feature, focuses instead on the inevitable softening of old grudges and disappointments with time. This is a wise as well as wonderfully fun movie. --Tom Keogh The original title of Living Out Loud was The Kiss, which also happens to be the title of one of the two Anton Chekhov stories the movie is loosely based on. (For those Russian lit mavens out there, the other story is "Misery.") The actual kiss in Living Out Loud is a somewhat mysterious affair: newly single Judith (Holly Hunter) suddenly finds herself laying a wet 'n' sloppy one on a total stranger (Elias Koteas, Hunter's Crash costar) in the back room of a cool jazz club, and then parting ways with the man. For good. Like so much of this exceptionally smart, generous movie, no explanation is given--or nec! essary. Screenwriter Richard LaGravenese (The Fisher King), making his directing debut, charts Judith's struggles in the wake of being dumped by her doctor husband (Martin Donovan). It turns out life has its ups and downs, some of which come courtesy of the elevator operator (Danny DeVito) in her swanky Upper East Side apartment building. DeVito's character is a nice guy in need of a little human touch, and the actor soft-pedals his usual sleaze in favor of a warm, directly emotional approach. It's the kind of turn that garners Oscar nominations, except that this movie didn't attract the box office it deserved. His performance, like the film, keeps surprising you--a fantasy sequence here, an ensemble dance there, plus a couple of smoky jazz tunes contributed by Queen Latifah. This unpredictable movie has the kiss of class. --Robert HortonPOSITIVELY TRUE ADVENTURES OF THE ALL - DVD MovieDirected by Michael Ritchie (The Candidate) with an eye toward his t! errific 1970s legacy of social and political satires, this 199! 3 HBO co medy stars Holly Hunter as the real-life Texas woman who solicited a killer to aid her daughter's dream of becoming a high school cheerleader. Hunter is remarkable in the lead, somehow both scary and sympathetic. But it is Ritchie who gets to the heart of the matter in the aftermath of the murder, when there is a mad scramble by the media and Hollywood to package the absurdist atrocity for their own ends. One of the director's more biting studies of the shadow side of ritual Americana, this is not for anyone looking for a bull docudrama. --Tom Keogh
