- Recently orphaned Corrine Third Degree Burns (a 14-year-old Diane Lane) enlists her cousin (Laura Dern) and sister (Marin Kanter) to launch a punk rock band, The Stains. Three rehearsals later, The Stains score the opening slot on a cross-country tour with aging metal act The Metal Corpses (led by Fee Waybill of The Tubes) and British punk rockers The Looters (real-life punk pioneers Paul Simonon
Dustin Hoffman presents Diane Lane (MURDER AT 1600, JACK), Liev Schreiber (SPHERE, SCREAM I&II), and Viggo Mortensen (A PERFECT MURDER, THE LORD OF THE RINGS) in a provocative and sensual story about one woman's personal sexual revolution! It's the summer of 1969 and Pearl (Lane) is spending yet another vacation with her family when she realizes that the freedom of the times is passing her by. Following a chance meeting with a sexy, free-spirited young man (Mortensen), Pearl is soon doing the unthink! able: having a daring, passionate affair! Also starring Academy Award(R)-winner Anna Paquin (Best Supporting Actress, THE PIANO, 1993; SHE'S ALL THAT) in a powerful motion picture that's been called one of the year's best -- Pearl must ultimately decide between the love of her husband and children ... or the lure of her newfound desires!Although its tale of marital crisis unfolds a bit too cleanly,
A Walk on the Moon--which was coproduced by Dustin Hoffman--offers a welcome relief from the juvenile assault of skull-throbbing blockbusters. The story is gently involving, the characters are authentic, and, best of all, Diane Lane is given a chance to show why she's one of the most genuine and underrated actresses of her generation. Here she plays Pearl Kantrowitz, a devoted housewife on a routine vacation in the Catskills with her TV repairman husband Marty (Liev Schreiber), 14-year-old daughter (Anna Paquin), and rambunctious younger son (Tovah Feldshuh).
It's th! e summer of 1969. Neil Armstrong has made his "one small step ! for man, " Woodstock is about to happen nearby (leading to a barely plausible dramatic coincidence), and while her husband is away on business, Pearl is cautiously receptive to the seductions of "the blouse man" (Viggo Mortensen), a hippie salesman who offers the adventure and passion that Pearl sacrificed to young pregnancy and marriage. Once the stage for infidelity is set, A Walk on the Moon progresses predictably, but first-time screenwriter Pamela Gray stays true to the emotions of her characters, and actor Tony Goldwyn (making a smooth directorial debut) maintains precisely the right tone to downplay most of the movie's dramatic clichés. Add to this a sharp dynamic between Lane and Paquin, whose performances create a substantial mother-daughter relationship. Graced by stolen moments and fleeting expressions that speak volumes, this unassuming little film is eminently worthwhile. --Jeff ShannonFrom the studio that brought you SWEET HOME ALABAMA comes the extraordi! nary romantic comedy starring Academy Award(R) nominee Diane Lane (2002 Best Actress, UNFAITHFUL). Based on the #1 New York Times best-selling book, UNDER THE TUSCAN SUN follows San Francisco writer Frances Mayes (Lane) to Italy as a good friend offers her a special gift -- 10 days in Tuscany. Once there, she is captivated by its beauty and warmth, and impulsively buys an aging, but very charming, villa. Fully embracing new friends and local color, she finds herself immersed in a life-changing adventure filled with enough unexpected surprises, laughter, friendship, and romance to restore her new home -- and her belief in second chances.Though she made her first movie at the age of 13, Diane Lane has only blossomed into a true star in her 30s, and Under the Tuscan Sun marks her full flowering. After a brutal divorce, Frances (Lane, Unfaithful, A Walk on the Moon) is persuaded by her friend Patti (Sandra Oh) to take a tour of Italy--where, on a whim that ! she hopes will rescue her from her desperate unhappiness, she ! buys a r undown villa and sets out to renovate it. Along the way, she gets advice from a former Fellini actress, meets a scrumptious Italian lover, and helps support Patti after her own relationship derails. The conclusion of Under the Tuscan Sun holds no surprises, but the deft turns and observations along the way are delightful. Lane carries the film effortlessly but surely, exuding both heartbreak and re-awakening passion. --Bret FetzerAn American teenager living in Paris meets and falls in love with a French teenager. Encouraged by an old con man, the two decide to elope. Sandwiched between Slap Shot and The World According to Garp, George Roy Hill made this effervescent film about first love. A sharp American girl (Diane Lane, in her debut) and a film-loving Parisian boy (Thelonious Bernard, in his only film) fall innocently in love. When the girl's zealous mother (Sally Kellerman) goes ballistic, the young couple fall under the spell of a curious gen! tleman (none other than Laurence Olivier), who plants the seed to make their love last forever: to kiss under a Venetian bridge at sunset. As the love story becomes an adventure with the young lovers crossing France and Italy, Allan Burns's Oscar-nominated script and Hill's deft touch turn this into a romance for the ages and a movie to smile about. George Delerue's Oscar-winning score and the picturesque European scenery don't hurt either. Ages 7 and older. --Doug ThomasFrom the director of Fatal Attraction comes "a steamy thriller" (People Magazine) about physical passion so intense, it consumes everything - and everyone - in its path. Edward and Connie Summer (Richard Gere, Diane Lane) have the perfect life: a happy marriage, an eight year old son, and a beautiful house in the suburbs. But when Connie's chance encounter with a handsome stranger (Olivier Martinez) erupts into a full-blown affair, desire becomes obsession, and the true price of betrayal takes a shat! tering toll. Pulsing with heart-pounding suspense and erotic t! hrills, Unfaithful is "sexy", stylish and seductive!" (Wireless Magazine)If you ever need dramatic proof that adultery is inevitably destructive, look no further than Adrian Lyne's Unfaithful. Drawing inspiration from Claude Chabrol's 1969 film La Femme Infidèle, the director of Fatal Attraction is mining similar territory here, but this grownup thriller is more intimate than Lyne's dead-bunny potboiler, probing more deeply into the rush of conflicting emotions provoked by infidelity. In what many critics praised as the role of her career, Diane Lane plays the instigator of emotional turmoil, a seemingly happy housewife and fundraiser who cheats on her devoted husband (Richard Gere, in a welcomed change of pace) when she casually encounters a seductive Frenchman (cliché alert!) played by Olivier Martinez. Allowing his actors to speak volumes without words, Lyne emphasizes silent tension over explicit thrills, creating a sexually charged thriller that remains r! iveting even as it turns partially predictable. "Someone always gets hurt," says one character in a pivotal scene, and Unfaithful fulfills that prophesy in a timeless tale of passion. --Jeff ShannonPenny chenery tweedy and colleagues guide her long-shot but precocious stallion to set in 1973 the unbeaten record for winning the triple crown. Studio: Buena Vista Home Video Release Date: 01/25/2011 Starring: Diane Lane John Malkovich Run time: 123 minutes Rating: PgThe "greatest racehorse of all time" mantle fits easily around the neck of Secretariat, the 1973 Triple Crown winner. So why not a movie version of this champion's life? Secretariat begins in the late '60s, with some good behind-the-scenes material on how thoroughbreds come to be (there's flavorful atmosphere inside the horsey world, including an account of Secretariat's ownership being decided by a coin flip as part of an old-school agreement). A highly lacquered Diane Lane plays Penny Che! nery, the inheritor of her father's stables, who segues from b! eing an all-American mom to running a major horse-racing franchise; reliable character-actor support comes in the form of John Malkovich, as a gaudily outfitted trainer, and Margo Martindale, as Chenery's assistant. Screenwriter Mike Rich and director Randall Wallace must do some heavy lifting to make Lane's privileged millionaire into some sort of underdog--luckily, the hidebound traditions of the male-dominated racing scene provide some sources of outrage. The need to stack the deck even more leads the movie into its more contrived scenes, unfortunately, as though we needed dastardly villains in order to root for Penny and her horse. Meanwhile, attempts to reach for a little Seabiscuit-style social relevance don't come off, and a curious religious undertone might make you wonder whether we're meant to assume that God chose Secretariat over some less-deserving equine. The actual excitement of the races can't be denied, however, and Secretariat's awe-inspiring win at the Belm! ont Stakes remains a jaw-dropping, still-unequaled display of domination in that event. And maybe in sports. --Robert HortonDustin Hoffman presents Diane Lane (MURDER AT 1600, JACK), Liev Schreiber (SPHERE, SCREAM I&II), and Viggo Mortensen (A PERFECT MURDER, THE LORD OF THE RINGS) in a provocative and sensual story about one woman's personal sexual revolution! It's the summer of 1969 and Pearl (Lane) is spending yet another vacation with her family when she realizes that the freedom of the times is passing her by. Following a chance meeting with a sexy, free-spirited young man (Mortensen), Pearl is soon doing the unthinkable: having a daring, passionate affair! Also starring Academy Award(R)-winner Anna Paquin (Best Supporting Actress, THE PIANO, 1993; SHE'S ALL THAT) in a powerful motion picture that's been called one of the year's best -- Pearl must ultimately decide between the love of her husband and children ... or the lure of her newfound desires!Although its ! tale of marital crisis unfolds a bit too cleanly, A Walk o! n the Mo on--which was coproduced by Dustin Hoffman--offers a welcome relief from the juvenile assault of skull-throbbing blockbusters. The story is gently involving, the characters are authentic, and, best of all, Diane Lane is given a chance to show why she's one of the most genuine and underrated actresses of her generation. Here she plays Pearl Kantrowitz, a devoted housewife on a routine vacation in the Catskills with her TV repairman husband Marty (Liev Schreiber), 14-year-old daughter (Anna Paquin), and rambunctious younger son (Tovah Feldshuh).
It's the summer of 1969. Neil Armstrong has made his "one small step for man," Woodstock is about to happen nearby (leading to a barely plausible dramatic coincidence), and while her husband is away on business, Pearl is cautiously receptive to the seductions of "the blouse man" (Viggo Mortensen), a hippie salesman who offers the adventure and passion that Pearl sacrificed to young pregnancy and marriage. Once the stage for in! fidelity is set, A Walk on the Moon progresses predictably, but first-time screenwriter Pamela Gray stays true to the emotions of her characters, and actor Tony Goldwyn (making a smooth directorial debut) maintains precisely the right tone to downplay most of the movie's dramatic clichés. Add to this a sharp dynamic between Lane and Paquin, whose performances create a substantial mother-daughter relationship. Graced by stolen moments and fleeting expressions that speak volumes, this unassuming little film is eminently worthwhile. --Jeff ShannonONLY THRILL - DVD MovieWithin the FBI there exists a division dedicated to investigating and prosecuting criminals on the internet. Welcome to the front lines of the war on cybercrime, where special Agent Jennifer Marsh (Diane Lane) and Griffin Dowd (Colin Hanks) have seen it all - until now. A tech-savvy internet predator is displaying his graphic murders on his own website and the fate of each of his tormented captive! s is left in the hands of the public: the more hits his site g! ets, the faster his victims die. When this game of cat and mouse becomes personal, Marsh and her team must race against the clock to track down this technical mastermind who is virtually untraceable.Untraceable fuses Saw with The Net in a perverse yet moralistic story about a psychopath who broadcasts acts of torture over the internet--all to better reveal the twisted underbelly of the American public, who hasten the victims' deaths simply by looking at the website. FBI agent Jennifer Marsh (Diane Lane, her mature-sexy mojo tamped down but still simmering in the corners of her eyes and the nape of her neck) launches a cyberhunt for the killer, only to find herself and her team caught up in his murderous scheme. It's hard to make tapping on a keyboard and staring at a computer screen exciting, but Untraceable does its best by making Marsh and her cybercrimebusting partner (Colin Hanks, King Kong) rattle off cascades of jaunty techno-jargon and do im! pressive bits of long-distance surveillance. The movie aims for the audience that flocked to see Ashley Judd in thrillers like Kiss the Girls and Double Jeopardy, but it's hard to say if fans of Lane's romantic fare like Under the Tuscan Sun or Must Like Dogs will enjoy the queasy violence. Nonetheless, the cast--including Mary Beth Hurt (The World According to Garp) as Marsh's mother--does a solid job and the movie clips along at an aggressive pace, maintaining tension throughout. --Bret Fetzer
Stills from Untraceable (click for larger image)
Beyond Untraceable
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LADIES AND GENTLEMEN, THE FABULOUS STAINS never received a formal theatrical release and was only seen on late-night cable, poor-quality bootlegs, or on rare occasions at film festivals. Yet somehow this 1981 film about a trio of misfit teenage girls who start a punk band went on to inspire a generation of female rockers.
SHE CAN T FOOL ALL THE FANS ALL OF THE TIME . . .
Recently orphaned Corrine Third Degree Burns (a 14-year-old Diane Lane) enlists her cousin (Laura Dern) and sister (Marin Kanter) to launch a punk rock band, The Stains. Three rehearsals later, The Stains score the opening slot on a cross-country tour with aging metal act The Metal Corpses (led by Fee Waybill of The Tubes) and British punk rockers The Looters (real-life punk pioneers Paul Simonon from The Clash and Steve Jones and Paul Cook of the Sex Pistols). The! Stains meteoric rise (and equally lightening-quick fall) owes! more to TV exposure than to talent.Some movies just stumble towards cult, mythic status;
Ladies and Gentlemen, The Fabulous Stains is one of those magnificent accidents. Besides in-fighting, the few previews shown to the public were unanimously panned, Paramount was at a loss as to how to market it, and the movie had never been available on DVD (or VHS, for that matter). This has just compounded its status as a "lost" film, with the few people who have seen it being evangelical in their gossip about this pseudo punk 'n' roll documentary. Now that it’s here, was it worth the wait? Does it hold up over time? You bet it does. Orphaned girls (Diane Lane, Marin Kanter) along with their cousin (Laura Dern) channel their frustration into a band, The Stains. After a few gigs, the media picks up what they consider a novelty. This leads to a tour with The Looters--idealistic punks from London--and the Metal Corpses (headed by Fee Waybil of the Tubes in a perfectly oblivious perfo! rmance). Head Looter takes head Stain under his wing, only to become disillusioned as he watches the American media, and by extension American teens, chose popularity over talent (as he sees it). Despite their differing views about how the movie should be handled, both the message of girl empowerment (screenwriter Nancy Dowd) and the idea that all great ideas become co-opted and watered-down (director Lou Adler) resonate throughout the film. The performances, while not uniformly great, work so well within the context of the documentary style that they have their own charm. And Diane Lane, as Stain leader Corinne "Third Degree" Burns, is simply outstanding, simmering with angst that bursts out at all the right points. A young Ray Winstone turns in a fine performance as the lead singer of the Looters, showing both contempt and sensitivity towards the fledgling Stains. Adding to its cult credentials, the rest of the Looters are played by Steve Jones and Paul Cook (Sex Pist! ols) and Paul Simenon (The Clash). With audio commentaries b! y not on ly director Adler, but stars Lane and Dern, this movie is not only great for any fans of
Times Square and
Rock 'n' Roll High School, but it’s a great addition to any library of music films in general. --
Robert Arambel
