Griffith, Melanie

Shining Through

Uncomfortably close to Ben Hecht and Alfred Hitchcock's film Notorious, this World War II drama (based on a novel by Susan Isaacs) concerns a love affair between a spy (Michael Douglas) and a secretary (Melanie Griffith) that goes south when duty turns him cold and pushes her into dangerous, behind-the-lines intelligence work. Liam Neeson plays the gentleman Nazi unwittingly providing Griffith with cover as domestic help. The best parts of the film are the twists and turns in the romance (Douglas is very good at playing a character who can turn off all feeling at will) at the beginning, while the German scenes are less compelling despite such high stakes for the heroine. The climax--taking us back to Notorious whether it wants to or not--is quite gripping, largely due to Douglas's performance. --Tom Keogh

In this romantic espionage thriller set against the backdrop of World War II, a secretary from Queens is transformed into a government spy. After discovering her attorney boss and lover is actually a secret agent, she convinces him to let her go undercover. With the help of a fellow operative she penetrates the Berlin home of a high-ranking enemy official, and works swiftly to accomplish her mission.

Working Girl

Melanie Griffith had a fling with stardom in this Mike Nichols comedy about an executive secretary (Griffith) who can't get her deserved shot at upward mobility in the brokerage industry. Hardly taken seriously by male bosses, things aren't really any better for her once she starts working for a female exec (Sigourney Weaver, never more delightful), a narcissist with a boy-toy banker (Harrison Ford) and a tendency to steal the best ideas from her underlings. When Weaver's character is laid up with a broken leg, Griffith poses as a replacement wheeler-dealer, flirting with Ford and working on a new client who doesn't suspect the deception. Nichols brings a lot of snap and sass to Kevin Wade's smart script about chafing against class restrictions and perceptions. Sundry scenes are played quite charmingly, especially those of Griffith and Ford's mutual pickup in a bar and Joan Cusack's championing of Griffith's crusade. Nominated for Best Picture, Director, Actress (Griffith), and two Supporting Actress awards (Weaver, Cusack); Carly Simon's song "Let the River Run" won the Oscar. --Tom Keogh

A bright Wall Street secretary rises to a professional position by posing as her classy but treacherous boss.
Genre: Feature Film-Comedy
Rating: R
Release Date: 6-SEP-2005
Media Type: DVD

Now and Then

This obligatory girls' version of Stand by Me begins with actors Melanie Griffith, Rita Wilson, Demi Moore, and Rosie O'Donnell doing a lousy job of playing adult versions of the film's youthful protagonists. The idea is that this quartet of characters is having a reunion, which serves as a preface to the main story about school chums who make a pact to stay close and supportive through thick and thin. The trouble is that Griffith, Moore, Wilson, and O'Donnell look like they've rehearsed their scenes for no more than a few minutes, and after boring us silly there's little reason to get excited about anything else. Still, it's nice to have a supporting cast that includes Janeane Garofalo and Bonnie Hunt, while among the girls are three young actresses who have been burning up the road in recent years: Christina Ricci (The Opposite of Sex), Thora Birch (A Clear and Present Danger), and Gaby Hoffmann (Strike). --Tom Keogh

The Milagro Beanfield War

Robert Redford's underrated directorial follow-up to his Academy Award-winning Ordinary People, The Milagro Beanfield War is a loose and whimsical fable about community pride and social activism in the face of modern progress. Sonia Braga (Kiss of the Spider Woman) plays a local mechanic in a small New Mexico town who takes up the challenge of rallying support for a local farmer who uses water owned by a real estate developer to grow beans in his field. Everything escalates to a showdown between the townspeople and the developers, with unexpected results. The strongest aspect of the film is the way it doesn't take itself too seriously, with Redford adopting a leisurely tone and allowing his fine cast (including Ruben Blades as the pragmatic town sheriff and Christopher Walken as a nasty state police officer) to deliver finely nuanced performances that touch on themes of faith and perseverance without seeming heavy-handed. The Milagro Beanfield War is an overlooked gem. --Robert Lane

Stuart Little 2

Stuart Little 2 is that rarest of movie breeds, a sequel that surpasses its charming, popular predecessor to achieve near-classic status. Mr. & Mrs. Little (Hugh Laurie, Geena Davis) are portrayed with good-natured, storybook purity, and the rest of the movie follows suit, beginning when their lonely mouse "son" Stuart (perfectly voiced by Michael J. Fox) befriends an orphaned canary (Melanie Griffith), who is reluctantly stealing from the Littles for the villainous Falcon (James Woods). The con game turns into a search-and-rescue thriller, with family cat Snowbell (Nathan Lane) quipping like a borscht-belt comedian, but the real fun of Stuart Little 2 comes from Bruce Joel Rubin's hilarious, marvelously inventive screenplay and returning director Rob Minkoff's visually dazzling combination of live action and lavish computer animation. Matching the Babe movies as a wondrous marvel of family entertainment, Stuart Little 2 is an all-ages romp that's smart, sweet, and completely irresistible. --Jeff Shannon

Milk Money

In MILK MONEY, when 12-year-old Frank Wheeler (Carter) and his two buddies save up their milk money and head into the city in search of a woman who will let them see her naked body, they think they've died and gone to heaven when V (Griffith) agrees to disrobe for them. Now stuck in the city and out of their element, the boys seek refuge in V who agrees to drive them back to the suburbs and away from the city's chaos. But, when V's car breaks down outside of his house, Frank decides that V would make a good step mom, and proceeds to play matchmaker for his dad, Tom (Harris). Thanks to Frank, Tom thinks that V is a math tutor, while V thinks that Frank knows the truth about her occupation. What ensues is a long, hilarious conversation that revolves around this comical misunderstanding.

Cherry 2000

At long last, one of the seminal films of the Melanie Griffith oeuvre is now available. Cherry 2000 is the heartwarming tale of Sam Treadwell (David Andrews), who will stop at nothing to find another model of his broken sex android. Griffith plays E. Johnson, the tough-as-nails tracker who helps him track her down. As deliriously chowderheaded as the premise of the movie sounds, it's actually not half bad and immensely fun to watch. The surprisingly mature plot (nobody gets naked!) involves Treadwell's gradual discovery that there's more to a good woman than a beautiful body and perfect subservience. Don't worry, there are plenty of explosions to keep you from getting bored. Griffith absolutely owns the movie--she looks like a complete badass handling surface-to-air missiles, though of course she still sounds like she picked up diction tips from early Shirley Temple movies. The DVD version includes the invaluable documentary "The Making of Cherry 2000" and the option of watching the entire film dubbed into French. Do not pass up the French version: it really brings out the art. --Ali Davis

Mulholland Falls

In the brutal war against murder and corruption there s one place where the battles are won. Nick Nolte Melanie Griffith Chazz Palminteri Michael Madsen Chris Penn Treat Williams Jennifer Connelly Andrew McCarthy and John Malkovich star in Mulholland Falls a brilliant high-powered crime-thriller electrified by hard-hitting action forbidden passion and shocking intrigue. In 1950s Los Angeles Max Hoover (Nolte) leads an elite squad of four detectives who play by their own rules dealing with criminals the only way they know how with deadly force. But when they investigate the murder of a beautiful young woman (Connelly) the detectives find themselves embroiled in a high-level conspiracy and faced with a terrifying secret that the US government is determined to keep hidden at any price.System Requirements: Running Time 107 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R UPC: 027616913210 Manufacturer No: 1007185

Too much surface. Director Lee (The Edge) Tomahori's noir story serves as a McGuffin to its ripe style. Amid secret agendas and unspeakable acts onscreen you stare at the fall of light across old cops' desks. Musing on super-8 footage of naked Jennifer Connelly, your mind wanders. Ah, yes, an allusion to the opening shots of Chinatown. Roman Polanski's grand reinvocation of the dark intuitions of 1940s noir is there, too, in the sumptuous look, the plump list of stars (Nick Nolte, Michael Madsen, Melanie Griffith, John Malkovich), and the swoony, bittersweet soundtrack. The zigzags of the story that bring together two cheating husbands, one pneumatic babe, and (somehow) homosexuality waywardly recall The Big Sleep. The Atomic Energy Commission subplot feels like an homage to Kiss Me Deadly. With so many other movies to please, by the middle of the film it's clear that the story isn't going to thicken, that for all the amperage in Nolte's performance, for all the male rage in Michael Madsen and Chazz Palminteri, the hints of sexual malfeasance aren't going much past Nolte's domestic guilt about his affair with Connelly. And yet there are rich things. Tracing a path from his girlfriend to the head of the Commission (Malkovich), Nolte listens, hat in hand, to a purring existential science lecture about the invisible world of atoms. "Yeah," Nolte growls, "well, I see too much." Would that the filmmakers had let us see more. --Lyall Bush

A Stranger Among Us

Academy Award(R)-nominated star Melanie Griffith (Best Actress nominee -- WORKING GIRL, 1988) turns in a winning performance as detective Emily Eden, a tough New York City cop forced to go undercover to solve a puzzling murder. Her search for the truth takes her into a secret world of unwritten law and unspoken power, a world where the only way out is deeper in! Delivering edge-of-your-seat excitement that won't let you go, this action-packed thriller is sure to entertain you with its sizzling star power, electrifying story, and nonstop surprises!

Pacific Heights

Ever a had neighbor from hell? You know, the one who never cleans, makes too much noise at night with his jigsaw, and breeds cockroaches and pumps them into your apartment? Never have? Well, pump up your paranoia with this outlandish if mildly enjoyable thriller starring Melanie Griffith and Matthew Modine as San Francisco yuppies-cum-landlords who rent out an apartment in their Pacific Heights house to mild-mannered Michael Keaton in order to make the mortgage payment. What seems like a happy arrangement all around turns hellish when: (a) Keaton refuses to pay the rent; (b) firmly entrenches himself in the apartment thanks to some legal maneuvering; and (c) starts playing with the cockroaches. Ostensibly, Keaton wants to drive Griffith and Modine to bankruptcy and then pick up their fab Victorian house for cheap, but as is the way of all thrillers, he's got a sadistic and homicidal bent to back up his real-estate envy. Director John Schlesinger (Midnight Cowboy) manipulates the thrills somewhat effectively, if not gratuitously, especially with Griffith's damsel-in-distress character, turning on the tension in the don't-go-to-the-attic/garage/basement set pieces. Part of the problem of the film lies in its schizophrenic tone: one moment it's a what's-in-the-dark? thriller, at other times a nifty cat-and-mouse game of psychological wills between Keaton and his landlords. Both sides of the movie are effective in their own right, and Keaton is a great psycho, but Schlesinger doesn't quite bring it together, despite a considerably amped-up climax. Still, if the sight of a beautiful house being slowly destroyed is your idea of the ultimate horror, you'll be chilled to the bone. Look for Griffith's mother, Tippi Hedren of The Birds fame, in a small role. --Mark Englehart