Ackerman, Robert Allan

The Roman Spring of Mrs. Stone

A beautiful cinematic adaptation of Tennessee Williams' first novel, The Roman Spring of Mrs. Stone, tells the emotional story of Karen Stone (Mirren), an aging American actress who falls for a young Italian gigolo of captivating beauty (Martinez) after the untimely death of her husband, Tom (Dennehy). In typical Tennessee Williams fashion, Mrs. Stone finds romance, but ultimately loses control and steps into a dangerous world of chaos.

Life with Judy Garland - Me and My Shadows

Pulling off the rare feat of winning Emmys for portraying the same role, Judy Davis and Tammy Blanchard raise this widely watched TV movie above the usual weepy-biopic standard. Since the project is based on a memoir by Lorna Luft, Judy Garland's "other" daughter, the emphasis is on Garland's rocky post-MGM years, spotlighting marriages, pills, and spectacular stage comebacks. Davis handles the neurotic swoops with authority; when Garland sighs on her birthday, "I'm 47 today--with my life, that makes me 412," you believe her. One thing she can't capture is Garland's onscreen incandescence: Davis's lip-syncing of "The Trolley Song" is expert but joyless. The luminous young Blanchard (who won the supporting actress trophy) has a physical and vocal resemblance to the former Frances Gumm that's often breathtaking, and the Wizard of Oz sequences look like outtakes from the real thing. Too much TV-flick telescoping dooms the movie to sketchiness, but those performances are over the rainbow. --Robert Horton

The remarkable story of Hollywood legend Judy Garland is vividly told in this widely acclaimed film, which features amazing, Emmy Award-winning portrayals by Judy Davis (Best Actress) and Tammy Blanchard (Best Supporting Actress). Loved by millions the world over, Judy was the brightest star in Hollywood's Golden Era. Away from the bright lights and brilliant performances, however, her devotion was to her family. But while she loved her children unconditionally, they could only desperately try and hang on to their mother as a powerful dependence on alcohol and prescription drugs began to consume her life. Based on the book by Garland's daughter Lorna Luft, and honored recipient of 5 Emmy Awards, LIFE WITH JUDY GARLAND: ME AND MY SHADOWS is a deeply moving testament to the healing powers of embracing one's past, facing one's demons, and charting a course of self-discovery!

Double Platinum

A soapy backstage melodrama originally produced for network broadcast, Double Platinum downplays show biz verisimilitude to turn on the tears. With '60s soul queen Diana Ross and '90s pop princess Brandy sharing production credit as well as billing, this formulaic tearjerker focuses on its stars' dramatic chops more than their musical prowess, a choice that won't deter their respective audiences, even as it disappoints less partisan music fans who might have hoped for a stronger musical component.

Olivia King (Ross) is the former St. Louis housewife who abandoned her family for pop stardom, only to return 18 years later determined to meet, and reconcile with, her daughter, Kayla (Brandy), now nurturing her own footlight fantasies. But when the prodigal mom finally does reveal herself to the bright, feisty teen, Kayla is outraged and then hard-boiled. Olivia's offer to help the undeniably talented girl make industry contacts is accepted, with the bitter caveat that the superstar should abandon any hopes of a true maternal bond with her embittered daughter. The usually imperious Olivia meekly accepts those terms, while the secretly yearning Kayla keeps up her tough-cookie cover, but the plot telegraphs its ultimate destination, even as the tears flow.

Both stars acquit themselves well in the story's stormier clashes, and the emotional tug of the story is well engineered to soak hankies. Less credulous viewers will be hampered by the original songs--when Ross steps on-stage, her regal demeanor and flashy (if occasionally silly) gowns support her supposed status as a legend, but the utterly forgettable, generic songs she mouths deflate that image. That said, viewers less interested in the actual music than the glitzy idea of the two characters may well be content to wallow in the waterworks of a story that could as easily have been titled Divas: The Next Generation. --Sam Sutherland

The Reagans

Despite charges of character assassination that drove made-for-TV movie The Reagans off CBS's primetime schedule, the three-hour production is actually sympathetic and even generous in its portrayal of Ronald and Nancy Reagan's rise from hard-working Hollywood couple to First Family. Beginning with their first date in 1949, the story establishes parallel dramatic tracks--the Reagans' acquisition of power and remoteness from their children--and never veers from them. The most interesting section concerns crucial political transitions made by the onetime Democratic loyalist and future Republican governor and president (James Brolin), though Reagan is never portrayed as an opportunist with flexible principles. Once more familiar details kick in--Reagan's hard line as California's boss, the presidential campaigns, two terms in the White House, Iran-Contra, etc.--the script shifts focus to Nancy (Judy Davis) and her ascendancy as a fierce player in the doddering Ronald's latter administration. It's all fascinating, and most certainly not a hatchet job. --Tom Keogh

Safe Passage

This family drama, based on a novel by Ellyn Bache, is overly familiar in its concentration of cracked secrets and family revelations all pouring down during a brief crisis. But it has a fine cast led by Susan Sarandon, and they make the whole enterprise a watchable affair. Sarandon plays a middle-aged mother of a brood of mostly grown sons. Suffering from empty-nest syndrome, she tends toward anxious dreams in which one or another of the boys is missing overseas. After having a nightmare that one--a Marine assigned to a Sinai peacekeeping force--has been hurt, word comes that a terrorist attack has indeed left his status in question. As the rest of the family gathers in the glare of fear--including Sarandon's estranged husband (Sam Shepard), suffering some form of (metaphorical) blindness--lots of unspoken things are said about old rivalries, ancient grievances, etc. It's all a bit thickly designed, but the likes of Robert Sean Leonard, Sean Astin, Marcia Gay Harden, Nick Stahl, and most of all Sarandon make it entirely palatable. --Tom Keogh

An estranged wife with seven sons pursues a new life until tragedy strikes. Starring 1995 Academy Award(R) winner Susan Sarandon and Sam Shepard. Year: 1994 Director: Robert Allen Ackerman Starring: Susan Sarandon, Sam Shepard, Robert Sean Leonard

Outrage

David's Mother

David's Mother

Passion's Way

Double Platinum [Region 2]

A soapy backstage melodrama originally produced for network broadcast, Double Platinum downplays show biz verisimilitude to turn on the tears. With '60s soul queen Diana Ross and '90s pop princess Brandy sharing production credit as well as billing, this formulaic tearjerker focuses on its stars' dramatic chops more than their musical prowess, a choice that won't deter their respective audiences, even as it disappoints less partisan music fans who might have hoped for a stronger musical component.

Olivia King (Ross) is the former St. Louis housewife who abandoned her family for pop stardom, only to return 18 years later determined to meet, and reconcile with, her daughter, Kayla (Brandy), now nurturing her own footlight fantasies. But when the prodigal mom finally does reveal herself to the bright, feisty teen, Kayla is outraged and then hard-boiled. Olivia's offer to help the undeniably talented girl make industry contacts is accepted, with the bitter caveat that the superstar should abandon any hopes of a true maternal bond with her embittered daughter. The usually imperious Olivia meekly accepts those terms, while the secretly yearning Kayla keeps up her tough-cookie cover, but the plot telegraphs its ultimate destination, even as the tears flow.

Both stars acquit themselves well in the story's stormier clashes, and the emotional tug of the story is well engineered to soak hankies. Less credulous viewers will be hampered by the original songs--when Ross steps on-stage, her regal demeanor and flashy (if occasionally silly) gowns support her supposed status as a legend, but the utterly forgettable, generic songs she mouths deflate that image. That said, viewers less interested in the actual music than the glitzy idea of the two characters may well be content to wallow in the waterworks of a story that could as easily have been titled Divas: The Next Generation. --Sam Sutherland