Sandra Bullock Movies

Hangmen

Danny Greene is just like every sixteen-year-old kid...except that a secret splinter group of the CIA wants him dead. Danny is running for his life. Enter Danny's father, an ex-Green Beret, equipped with a rag-tag bunch of urban guerillas and an entire arsenal of weaponry. But can five former commandos defeat the largest, most thorough network of government-sanctioned assassins in the world? In this high-stakes world, before the case even gets to trial, someone's already called the HANGMEN.

Release Date: 09/01/1999

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Who Shot Pat?

"Who Shot Patakango?" is a largely episodic film that follows the lives of a group of high school seniors who are on the threshold of graduation. What's interesting here is that it features a school where both blacks and whites attend, certainly unusual for a film set in the 1950s. That angle is not explored as well as it could have been, however. Instead, the film mostly follows the adventures and misadventures of the students.

Release Date: 05/01/2004

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The Preppie Murder

I was intrigued by the "Preppie Murder" because it happened when I was the age of the victim and murderer. I watched the movie of course and just saw it again recently. I wonder how the parents of Jennifer felt at how she was portrayed as somewhat of a pest and looking as if she almost pushed Robert Chambers to the breaking point. Other than that...it was a good movie and pretty authentic of the time period.By Diana H

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Who Do I Gotta Kill? [Region 2]

Sandra Bullock and James Lorinz should both be ashamed to be seen in this movie.I couldn't believe what she did in her sex scene. She must have been really desperate for rent money to agree to do that on film. I will admit that there are a few funny scenes,but not enough to be worth buying the movie. It's filled with bad mobster dialogue and a plot that goes nowhere. Any Anthony Michael Hall fans that want to see this movie because he's listed as being in it, don't bother. You'll see his name in the credits and the top of his head for one split second (if you don't blink during that scene), that's it. Any part he had in it wound up on the cutting room floor (and I'll bet he's happy about that!), which is where the rest of it belongs.

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When the Party's Over

Sandra Bullock, Elizabeth Berridge, Rae Dawn Chong and Fisher Stevens star in this powerful and intimate look at success, friendship and sex in the 1990's. A group of young, sophisticated and beautiful friends are bent on having it all. Living together in an exclusive section of Los Angeles makes life one ongoing party. Their bodies are beautiful, their beds are busy, their careers are rising fast - especially for M.J. (Chong). Her charm and sexy good looks allow her to manipulate and use everyone around her, even her closest friends. But what happens when the party's over?

Release Date: 05/21/2002

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Love Potion #9

The premise of Love Potion #9--that a magic potion makes the user irresistible to the opposite sex--could be the setup for the crassest sex farce imaginable. Instead, this film is a surprisingly subtle romantic comedy. Nebbishy scientist Paul (Tate Donovan) goes to a Gypsy fortuneteller (Anne Bancroft), who tells him she sees no women in his entire life. To make up for this depressing news, she gives him a few drops of a love potion--number 8. Paul, a biochemist, scoffs; but when his pet cat accidentally gets a taste and attracts every female cat in the neighborhood, he enlists fellow dweeby scientist Diane (Sandra Bullock) to analyze it. After experimenting on monkeys, they decide to test it on themselves; soon Diane is being pursued by handsome Italians in the street and comes close to marrying the Prince of England, while Paul gets a little revenge on a woman who previously rejected him, then embarks on his own love spree. Shortly they discover that they really want each other; but before they can get married, an old boyfriend of Diane returns with his own dose of love potion number 8. Paul's only hope is to get something even more powerful. Love Potion #9 is genuinely clever and sweet, and both Donovan and Bullock work well with the low-key but effective humor of the movie's well-written script. It's a tribute to her talent and her girl-next-door looks that Bullock, unlike most pretty stars dressing down, is effective as both a lovelorn loser and the confident glamour-girl she becomes. Altogether, a charming and enjoyable film. --Bret Fetzer

Release Date: 05/01/2001

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The Vanishing

It's not unusual for Hollywood to remake European hits. What is unusual is the director of the original getting the chance to helm the new version with an American cast, which is what happened with this film based on an intensely creepy Dutch film of the same name (both directed by George Sluizer). Kiefer Sutherland and Sandra Bullock are on vacation when, while stopped at a crowded rest area, she disappears. He devotes the next several years to discovering what happened to her, ruining his life in the process. When he does get a clue, it leads him to Jeff Bridges, who plays a bizarre and highly organized individual whose motives are almost as strange as he is. Bridges is spooky, but Sluizer ultimately is undone by Hollywood's demand for a happy ending, which makes this film affecting but far less unsettling than the original. --Marshall Fine

Release Date: 09/07/2004

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The Thing Called Love (Director's Cut)

If there was a universal collective, albeit repressed, dream, it would probably be to become a successful singer. People would take that singing in the car, singing in the shower, and even singing in the rain, and have it be their life's love and work. The Thing Called Love uses this popular aspiration as its setting and examines the lives of four young people hoping to make it in the country music universe. At the center is earnest Miranda Presley--no relation--(Samantha Mathis), the pretty but untalented Linda Lue (Sandra Bullock), the intense and talented James (River Phoenix), and the sweet and prolific Kyle (Dermont Mulroney). Popular country stars make appearances: K.T. Oslin (as Lucy, the owner of the Bluebell, where open-mike auditions are held), Jimmie Dale Gilmore, Katy Moffatt, Jo-El Sonnier, Pam Tillis, Kevin Welch, and even Trisha Yearwood. The film's not merely focused on the rich musical milieu and its talented cast. It also carefully examines the dynamic between friends who are also competitors, as well as a realistic love triangle between the leads. The Thing Called Love is primarily known as one of River Phoenix's last performances, but even if curiosity alone brings audiences to the movie, they'll soon be drawn into the fresh tale of four young people pursuing their dreams. --N.F. Mendoza

Release Date: 03/07/2006

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Demolition Man

Years before the fast-food chain hired a talking chihuahua as its official spokeshound, Taco Bell got some high-profile product placement in this dopey thriller set in the year 2032, when the sprawling megacity of "San Angeles" has banned violence and profanity, and where virtually all the restaurants are Taco Bells. (So much for democracy!) Sylvester Stallone plays an ex-cop who's been thawed out after 36 years of imprisonment for manslaughter, and Wesley Snipes plays his nemesis who also emerges from deep-freeze and proceeds to wreak havoc. It's not nearly as funny as the similarly plotted Austin Powers,; but this special-effects-laden comedy-thriller does have a few highlights, including the pre-stardom Sandra Bullock as the cop-trainee who teaches Stallone proper behavior (and sexual etiquette) in the future's conservative society. Co-starring is Rob Schneider as a frantic sidekick who matches Stallone's one-liners with idiotic wit. --Jeff Shannon

Release Date: 10/01/1997

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Fire On The Amazon

In Bolivia's Amazon basin, corporate cattle ranches are replacing the rain forest. When Santos, charismatic leader of the union of rubber tappers, forges an alliance with Indians to protest deforestation, he is assassinated. O'Brien, a US photo-journalist who has no skills as an investigator, wants a story when he thinks the police have framed and murdered an innocent Indian as the assassin. In his search for the truth, he involves Lysa Rothman, who worked for Santos and with whom he falls in love. As he gets deeper into trouble with the cops and the real assassin, he not only needs Lysa's help but that of the Indians' leader. How many will die so O'Brien can get his story?

Release Date: 12/26/2005

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Speed (Widescreen Edition)

Everything clicked in this 1994 action hit, from the premise (a city bus has to keep moving at 50 mph or blow up) to the two leads (the usually inscrutable Keanu Reeves and the cute-as-a-button Sandra Bullock) to the villain (Dennis Hopper in psycho mode) to the director (Jan De Bont, who made this film hit the ground running with an edge-of-your-seat opening sequence on a broken elevator). This is the sort of movie that becomes a prototype for a thousand lesser films (including De Bont's lousy sequel, Speed 2: Cruise Control), but Speed really is a one-of-a-kind experience almost anyone can enjoy. --Tom Keogh

Release Date: 02/01/2005

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While You Were Sleeping

f you don't mind a heavy dose of schmaltz and sentiment, this romantic comedy has a gentle way of seducing you with its charms. While You Were Sleeping was the first starring role for Sandra Bullock after her blockbuster success in Speed. In a role that nicely emphasizes her easygoing appeal, Bullock is the reason the movie works at all. She plays Lucy Eleanor Moderatz, a Chicago Transit tollbooth clerk who's hopelessly smitten with a daily commuter, Peter Callaghan (Peter Gallagher). She saves the object of her affection from certain death after he's mugged and falls onto the train tracks. While Peter is in a coma, she lets his family believe that she is his fiancée, and surprisingly finds herself drawn to his brother (Bill Pullman), for whom the attraction is definitely mutual. How Lucy gets out of this amorous predicament is what makes this pleasant movie less predictable than its familiar ingredients would initially indicate. It's feel-good fluff, with characters and performances that keep you smiling through the drippy plot mechanics. --Jeff Shannon

Release Date: 02/04/1998

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The Net (Special Edition)

The Net, the first of Hollywood's big cyberthrillers of the mid-1990s, was also the most successful, thanks in large part to the natural appeal of star Sandra Bullock. Still riding high from Speed and While You Were Sleeping, Bullock plays a computer expert victimized by sinister cyberforces who steal her identity for reasons unknown. It's a clever combination of high-tech paranoia and Hitchcockian references (including Jeremy Northam as a romantic stranger named Devlin, after Cary Grant in Notorious). Film historians may look back someday on films like this--Roger Ebert calls them "hacksploitation"--to see what they reveal about our society's reaction to the increasing role of technology in our lives, just as we now study the fears of Communism and the atom bomb reflected in films of the 1950s. Dennis Miller and Diane Baker costar. --Jim Emerson

Release Date: 04/02/2002

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Two if by Sea

A comedy of love, laughter, and larceny. With the FBI hot on their trail, a petty thief (Denis Leary) and his long-tim girlfriend (Sandra Bullock) take up temporary residence in a beach house on a posh island, where their love for each other is put to the ultimate test. "The best romantic comdey, caper, date film of the year." (Norman Mark, WMAQ-TV/Chicago).

Release Date: 03/21/2000

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A Time to Kill

You wouldn't know it by watching the Batman movies they collaborated on, but this smart adaptation of John Grisham's novel proves that director Joel Schumacher and screenwriter Akiva Goldsman have some talent when the right project comes along. Schumacher had previously directed Grisham's The Client, and brought equal craft and intelligence to this story about a young Southern attorney (Matthew McConaughey, in his breakthrough role) who defends a black father (Samuel L. Jackson) after he kills two men who raped his young daughter. Sandra Bullock plays the passionate law student who serves as McConaughey's legal aide and voice of conscience in the racially charged drama. Added to the star power of the lead roles is a fine supporting cast, including Kevin Spacey, Ashley Judd, and Oliver Platt. --Jeff Shannon

Release Date: 03/26/1997

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In Love and War

This disastrous 1996 film by Sir Richard Attenborough was meant to be part of his informal series of movies about great men, including Gandhi, Chaplin, Cry Freedom (the Steven Biko story), and Shadowlands (C.S. Lewis). In Love and War is a recounting of young Ernest Hemingway's World War I love affair with Red Cross nurse Agnes von Kurowsky, who was eight years older than he and who became the basis for the Catherine Barkley character in A Farewell to Arms. O'Donnell is terrible, in a word, and Bullock mostly seems out of sorts when playing someone real. Except for the scene in which Hemingway is introduced, fearlessly making his way to a trench under heavy bombardment, you have no idea that this person O'Donnell "portrays" will eventually change the direction of American literature. For a much better experience, look toward Attenborough's previous works. --Tom Keogh

Release Date: 07/27/1999

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Speed 2 - Cruise Control

Anybody seen Keanu? The action star of Speed opted out of this overbearing sequel, which finds costar Sandra Bullock in love with another guy (Jason Patric) and in trouble aboard a cruise ship under the control of a mad extortionist (Willem Dafoe). Speed director Jan de Bont is back at the helm for part 2, but even he seems to have forgotten that what made the first film work was the simplicity of its hook (the bomb, the bus that can't drive below 50 mph, the handful of sympathetic passengers, etc.). Speed 2 is all about hugeness: big ship, lots of places to get into trouble, and so on. Even with an eye-popping, endless finale of the vessel crashing into port (and causing mondo destruction), there is nothing about this movie that is remotely as involving as its predecessor. --Tom Keogh

Release Date: 03/09/1999

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Hope Floats

Cute-as-a-button Sandra Bullock is a homemaker who learns that her husband and best friend are having an affair. The so-called best friend reveals this information on a national chat show, leaving Bullock devastated and disgraced. Heading back to her small hometown in Texas, she seeks refuge with her eccentric mother. Laconic Harry Connick Jr., a former high-school classmate, attempts to bring Bullock out of her depression and win her heart. He has, you see, been carrying a torch for her since they were kids.

You will not need a crystal ball to see where this is going. It works as a middling romance, but is an annoying waste of potential. The script has much to say about finding your true identity, but does so with all the sentimentality and depth of a Hallmark card. --Rochelle O'Gorman

Release Date: 01/14/2003

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Practical Magic (Snap Case)

Actor Griffin Dunne improves a bit on his first film as a director, Addicted to Love, with this drama-comedy about a family of witches. Nicole Kidman and Sandra Bullock play spell-casting sisters of different temperaments: the former is a high-living, free-spirited sort, while Bullock's character is a homebody who can't get around a family curse that kills the men in their lives. A widowed single mom, Bullock gets into a jam with an abusive Bulgarian (Goran Visnjic) and is helped out by her sibling, but the result brings a good-looking, warm, inquisitive cop (Aidan Quinn) into their lives. The film has a variety of tonal changes--cute, scary, glum--that Dunne can't always effectively juggle. But the female-centric, celebratory nature of the film (the fantasies, the sharing, the witchy bonds) is infectious, and supporting roles by Dianne Wiest and Stockard Channing as Kidman and Bullock's magical aunts are a lot of fun. --Tom Keogh

Release Date: 02/16/1999

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Forces of Nature

Plane crashes, pickpockets, hurricanes--heaven and hell is moving to prevent our able hero Ben (Ben Affleck) from marrying his sweetie (Maura Tierney) in Savannah. At every turn he runs into someone else despairing about the woes of married life. And of course, temptation proves overwhelming in the face of traveling companion Sarah (Sandra Bullock), the wild woman whom he can't seem--or doesn't want--to lose.

After a wayward bird flies into the engine of his airplane, Ben is forced to find another way to his wedding. He finds himself stuck with Sarah, whom he carried from the plane after she was whacked in the noggin by his laptop. The heat between them is unmistakable, and the drama in the film comes from the "will he or won't he," both in terms of sleeping with Sarah and meeting up with his bride. Forces of Nature is a fun and sentimental road-trip film, but Ben is such a strait-laced noodge, you can't help but want him to fall flat on his face just a little. Bullock is the life of this film, although her free-spirited ways get a bit tired (responsibility is not all bad). The highlight of this movie, though, is definitely the cinematography. The beautiful rain shots and the colors of the scenes lend to the unsettling mood. While the jokes are not rip-roaring, Forces is to be reckoned with for those times when a lighthearted film is what you need. --Jenny Brown

Release Date: 11/02/1999

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Gun Shy

Gun Shy had the misfortune to come along after several other "killer pursues therapy" movies/TV shows (Grosse Pointe Blank, Analyze This, The Sopranos); in this case, it's a DEA agent and not a Mafioso, but that wasn't enough to keep it from getting swept aside. Liam Neeson (Schindler's List, Rob Roy) plays Charlie, a government undercover agent whose last mission got botched, resulting in his partner's death. But the DEA isn't willing to let him get out early; clinging to his fantasy of a seaside retirement home, Charlie agrees to one more mission, even though he's convinced that the New York City gangster he's investigating will kill him. On his flight to the city, he meets a psychiatrist who encourages him to join a group therapy session. Meanwhile, it turns out that the gangster Fulvio, played by busy character actor Oliver Platt (Funny Bones, Bulworth), is equally miserable with his career. Curiously, Neeson and Platt both seem initially miscast--Neeson exudes a solid imperturbability, and Platt comes off as too soft to be really threatening--but over the course of the movie, their performances become increasingly compelling, perhaps because they are cast against type. Their neuroses, which initially seem like weak gags, start feeling genuine and sad. Gun Shy is marketed as a comedy, but its strength is in the truth of its characters. Sandra Bullock (who also produced the film) has a small role as a gastroenterologist with whom Charlie falls in love. --Bret Fetzer

Release Date: 06/20/2000

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28 Days (Special Edition)

To appreciate 28 Days, it's best to be thankful that director Betty Thomas hasn't forced Sandra Bullock into a remake of Clean and Sober. Instead Thomas has balanced her comedic sensibility (evident in Dr. Dolittle and Private Parts) with the seriousness of alcoholism and substance abuse, and she succeeds without compromising the gravity of the subject matter. Some critics have scoffed at the movie's breezy, formulaic portrait of 27-year-old boozer and pill-popper Gwen Cummings (Bullock), but this smooth-running star vehicle does for Bullock what Erin Brockovich did for Julia Roberts, focusing her appeal in a substantial role without taxing the limits of her talent. It's no wonder that Susannah Grant (who wrote both films) was one of the hottest new screenwriters of 1999. She writes "Hollywood Lite" without insulting anyone's intelligence.

As played by Bullock, Gwen is an alcoholic in denial whose latest bender with boozer boyfriend Jasper (Dominic West) ruins the wedding of her sister (Elizabeth Perkins) and lands her in a month-long rehab program with the requisite gang of struggling drunks and junkies. Newcomer Alan Tudyk steals his scenes as a gay German rehabber who might've dropped in from a Berlin performance-art exhibit, and Steve Buscemi aptly conveys the weary commitment of a counselor who's seen it all. Thomas has surrounded Bullock with a sharp ensemble, and the addition of singer-songwriter Loudon Wainwright III (as a kind of Greek chorus crooner) is sublimely inspired. Certainly no surprises here--the warring sisters will reconcile, and at least one rehabber will fail to recover--but there's ample pleasure to be found in Bullock's finely tuned performance, and in Thomas's inclusion of flashbacks and tangents that add depth and laughter in just the right dosage. --Jeff Shannon

Release Date: 09/19/2000

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Miss Congeniality (Deluxe Edition)

It's a good thing Sandra Bullock knows her strengths and weaknesses, because without Bullock as star and producer, Miss Congeniality would be an insufferable mess as opposed to being a mildly enjoyable trifle that is custom-made for Bullock's established screen persona. Only Bullock's fans could really appreciate this fluff (even then they'll wish its ripe premise had been more intelligently handled), but it's not without some highlights to accompany Bullock's reliable charms. Here she plays clumsy, nerdy FBI agent Gracie Hart, who is given the horrific pseudonym Gracie Lou Freebush (one example of the movie's juvenile tendencies) when assigned to infiltrate a beauty pageant to investigate threats of a terrorist attack.

Transforming Bullock from frumpy to stunning is a piece of cake (although she gives pageant coach Michael Caine a run for his money), so the movie's premise is trivial at best. More enjoyable is her character's uncouth disdain for pageant contestants and her mistaken perception that they're all a bunch of bimbos. The movie nicely charts Gracie's realization that her own pageant makeover provides a much-needed ego boost. In addition to Caine's effortless scene-stealing, pageant host William Shatner and organizer Candice Bergen are smart choices for comedic support (Shatner's a perfect Bert Parks wannabe), but the movie desperately needs a credible foundation for its comedy to really pay off. Bullock's bureau boss (Benjamin Bratt) is an unconvincing dimwit, and none of the plotting is as smart as say Beverly Hills Cop in combining procedure with laughs. That leaves Bullock to carry the burden of a comedy that just barely works in her favor. --Jeff Shannon

Release Date: 03/15/2005

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Murder by Numbers (Widescreen Edition)

While reinventing Leopold and Loeb for a new and troubled millennium, Murder by Numbers probes the disturbing psychology of two teenaged murderers and the cleverness of their crime. Like Hitchcock's Rope and other films inspired by the Leopold and Loeb case of the 1920s, the film intensifies as it explores the repressed (and subtly homosexual) tensions between high-school outcasts Richard (Ryan Gosling) and Justin (Michael Pitt), who randomly kill a woman to enact an amoral philosophy--and to tease a savvy homicide detective (Sandra Bullock) with misleading clues. While clashing with the by-the-book procedure of her partner (Ben Chaplin), Bullock gives one of her best performances in a role that comes with its own set of psychological hurdles. It's comfortable territory for Reversal of Fortune director Barbet Schroeder, who draws fine work from his cast while proving that there's no such thing as a perfect crime. --Jeff Shannon

Release Date: 06/01/2004

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Divine Secrets of the Ya-Ya Sisterhood (Widescreen Edition)

Grab your tissues and send the guys away, because Divine Secrets of the Ya-Ya Sisterhood is the most pedigreed chick flick since Steel Magnolias. You can tell by the title and the novelish names of the Louisiana ladies from Rebecca Wells's precious bestseller. First there's Sidda (Sandra Bullock), a successful playwright still wrestling with her manipulative mother, Vivi (Ellen Burstyn), after a traumatic upbringing. Then there's longtime friends Teensy (Fionnula Flanagan), Necie (Shirley Knight), and Caro (scene-stealer Maggie Smith), from Vivi's secret club of "Ya-Ya Priestesses," together since childhood and determined to heal the rift between Sidda and her mom. Through an ambitious flashback structure (including Ashley Judd as the younger Vivi), screenwriter and first-time director Callie Khouri (who wrote Thelma & Louise) establishes a rich context for this mother-daughter reunion. There's plenty of humor to temper the drama, which inspires Bullock's best work in years. Definitely worth a look for the curious, but only fans of Wells's fiction will feel any twinge of loyalty. --Jeff Shannon

Release Date: 06/01/2004

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Two Weeks Notice (Full-Screen Edition) (Snap Case)

You'd expect a cavalcade of cuteness from any pairing of Sandra Bullock and Hugh Grant, but Two Weeks Notice admirably avoids the obvious. You get plenty of Bullock's pratfalls and feisty sex appeal, and Grant's snappy comebacks are never in short supply, but first-time writer-director Marc Lawrence (who wrote Bullock's previous hit, Miss Congeniality) adds just enough antagonism to keep this romantic comedy from being a completely foregone conclusion. Neurotic lawyer, environmentalist, and landmark-preservation activist Lucy Kelson (Bullock) is determined to thwart the efforts of billionaire developer and jet-setting playboy George Wade (Grant); of course, fate brings them together and then rips them apart, just as they're beginning to feel the panicky pangs of love. A replacement attorney (Alicia Witt) defies formula by being genuinely sweet, and Lawrence steers clear of the most familiar clichés. It's formulaic anyway, but in Two Weeks Notice it's a comforting formula, delivered by stars who thrive within their limitations. --Jeff Shannon

Release Date: 04/29/2003

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Crash (Widescreen Edition)

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

Release Date: 09/06/2005

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Loverboy

A quirky film about a single mother and the suffocating, tragic love she has for her 6-year-old child, Loverboy serves as an answer to anyone who might wonder if you can love your child too much: Absolutely. Emily (Kyra Sedgwick from The Closer) is an eccentric, anti-social woman yearning for the affection her parents showered on each other, but never on her. All her hopes and dreams are thrust upon her young son Paul (Dominic Scott Kay). Not only is adorable, but he's also incredibly mature and patient. Though his mother lavishes him with attention, gourmet meals, and an almost fairytale existence, Paul wants stability and normalcy. He yearns for a father. He wants to go to school with the other kids. And though he's only 6, he's old enough to know that having a mother who refers to him as "Loverboy" is just plain wrong. Directed by Sedgwick's husband, Kevin Bacon (The Woodsman, Mystic River), the film veers unsteadily between ironic comedic moments and touching drama. Full of cameos (Sandra Bullock, Matt Dillon, Oliver Platt, Marisa Tomei, and Bacon, who plays Emily's father in flashback sequences), the film does a fine job of conveying Emily's desperation to be the only person who matters to Paul. But because she's such a manipulative freak, it's difficult for the viewer to feel much empathy for her as she tries to shelter her boy from the world. "There's no falling in love like the falling in love with a child," she says early in the movie. Ultimately, that's her downfall. --Jae-Ha Kim

Release Date: 09/19/2006

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Miss Congeniality 2 - Armed and Fabulous (Full Screen Edition)

F.B.I. operative Gracie Hart (Sandra Bullock) famously went undercover in a beauty pageant a while back, and now she's supposedly so recognizable that her only use to the agency is as a pretty public representative. Dumped by her boyfriend (whom Benjamin Bratt wisely decided not to portray this time around), a gloomy Gracie goes along with the promo biz until her friend, Miss United States (Heather Burns), is kidnapped along with pageant official Stan Fields (William Shatner) in Las Vegas. Bullock still has perk to please her fans, but neither she nor her awkward alter-ego has any purpose in a sequel to a movie released five years prior. The result is a desperately unfunny, feature-length commercial for Las Vegas tourism, with outdated homosexual stereotypes (Diedrich Bader, as Gracie's stylist) and the usually terrific Regina King (of Ray and Jerry Maguire fame) stuck in a glum role as Bullock's butch bodyguard. Armed? Yes. Fabulous? No. --Steve Wiecking

Release Date: 06/21/2005

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The Lake House (Full Screen Edition)

Keanu Reeves and Sandra Bullock pair up again in what could be described as the anti-Speed: The Lake House, a sweet, relaxed-paced, whimsical romance. When Alex Wyler (Reeves, The Matrix) moves into an unusual glass house on stilts over a lake, he discovers a note from the previous tenant in the mailbox--but no one's lived in the house for years. He replies and soon discovers that he's corresponding with a doctor named Kate Forster (Bullock, Miss Congeniality) who's writing from two years in the future. Their correspondence turns romantic and their paths cross in unexpected ways, but when they try to truly connect, danger looms. Though the plot of The Lake House sounds potentially static, the movie is skillfully structured and, despite some truly awful dialogue, will exert an emotional pull on anyone willing to embrace the device of the time-travelling mailbox. What the movie really demonstrates, though, is the genuine rapport between Bullock and Reeves; Reeves, though handsome, has a wooden presence--but in his few scenes with Bullock, his stiffness transforms into a palpable yearning. On-screen chemistry is slippery and hard to define, but these two have it. --Bret Fetzer

Release Date: 09/26/2006

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Amazon Price: $11.99 (as of 12/15/2009)

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Infamous

Infamous is inevitably compared to Capote, since it also chronicles author Truman Capote's spiral into chaos while composing his masterpiece, In Cold Blood, a breakthrough non-fictional tale told as fiction. It's a shame that Capote's critical acclaim eclipsed this film's, as Toby Jones is perfectly convincing as Capote, with his small stature and eccentric manner. Infamous mimics the novel's fictionalized non-fiction, opening on "interviews" with Capote's New York friends like Diana Vreeland (Juliet Stevenson) and Babe Paley (Sigourney Weaver). The film, set in 1959, begins with Capote's discovery of the farm family murder story and his trek out to Kansas with confidant, Nelle Harper Lee (Sandra Bullock). Stressing Capote's relationships with Lee, the film justifies Capote's marginal behavior by Lee's speaking about Capote's childhood neglect, which she also wrote into To Kill A Mockingbird. Capote's own description of his rough childhood then serves as a barrier breaker between himself and Perry Smith (Daniel Craig), the half of the Perry Smith-Dick Hickock killing team who is at first unwilling to talk. Infamous makes much of the sexual tension between Capote and Smith, implying that Capote persevered through his project for Smith's love. Based on George Plimpton's oral biography, Infamous deserves a stellar place in Capote-lore, as there is ample room for both competing films. --Trinie Dalton

Release Date: 02/13/2007

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Amazon Price: $5.79 (as of 12/15/2009)

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Premonition (Full Screen)

In Premonition, Linda Hanson (Sandra Bullock) is living in the Twilight Zone as she experiences recurring dreams of her husband's car crash, mediated by days in which the tragedy hasn't yet happened. By the time Linda does see her husband Jim's (Julian McMahon) death, one feels relieved instead of grievous. Though Premonition mines fascinating material, investigating the ways women in particular have uncanny psychic abilities to predict impending family dangers, Linda's premonitions are so convoluted, even to her, that it is difficult to determine their reality. Unrealistic scenes involving a sadistic psychiatrist and an unwarranted lithium prescription would lead one to question Linda's sanity, but instead add falseness to the story. Irritating sequences in which Linda confides in a priest at the local church, who tells her that faith will heal all, seem like Christian propaganda that completely eradicates any real witchcraft in the story. For a truly scary film about clairvoyance, see Dario Argento's Phenomena. Premonition is a bogus take on psychic prediction, as tearjerking as Ghost was during Patrick Swayze's heyday. --Trinie Dalton

Release Date: 07/17/2007

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