December 24, 1989 |
Eve of Destruction (Interscope/Nelson). Shooting in New York and Los Angeles. Gregory Hines and Renee Soutendijk star in this sci-fi thriller concerning a scientist who develops a powerful robot in her own image. The project ultimately goes awry and the creator must stop her creation from killing innocent thousands. Producer David Madden. Director Duncan Gibbins. Screenwriters Yale Udoff and Gibbins. Distributor Orion. Twisted Justice (Hero). Shooting in S. California.
September 27, 1992 |
The usual ambition for a Hollywood producer flush with success for making a sleeper hit like "The Hand That Rocks the Cradle" would be to move up the ranks with a more prestigious project the next time. An all-star cast. A bigger budget. A deal that includes a percentage of the box-office grosses. But not David Madden, who has just acquired one of the longest monikers in filmdom; writer-director-producer-studio executive.
February 23, 1986 |
Three years ago this month, a hopeful young writer living in Texas mailed a stack of letters to Hollywood producers asking if he might send them his screenplay, "The Hitcher." The letter concluded: "It (the story) grabs you by the guts and does not let up and it does not let go. When you read it, you will not sleep for a week. When the movie is made, the country will not sleep for a week."
October 13, 2003 |
Chronically high blood pressure can cause a decline in some mental processes, but it doesn't appear to accelerate the deficits that come with natural aging. Researchers at Duke University Medical Center in Durham, N.C., divided 96 volunteers into two groups: 48 had either high-normal blood pressure (called prehypertension) or high blood pressure, and 48 had normal blood pressure.
November 20, 1995 |
"Separate Lives" is the direct-to-video version of "Never Talk to Strangers," which itself staked out the lowest-common-denominator audience. Both movies concern imperiled psychiatrists who themselves are borderline bonkers; both have private investigators getting romantic with their subjects; both have the same banal revelation at their finales.