Norman is a curmudgeon with an estranged relationship with his daughter Chelsea. At Golden Pond, he and his wife nevertheless agree to care for Billy, the son of Chelsea's new boyfriend, and a most unexpected relationship blooms.
A worker at a plutonium processing plant is purposefully contaminated, psychologically tortured and possibly murdered to prevent her from exposing worker safety violations at the plant.
While doing a series of reports on alternative energy sources, an opportunistic reporter Kimberly Wells witnesses an accident at a nuclear power plant. Wells is determined to publicise the incident but soon finds herself entangled in a sinister conspiracy to keep the full impact of the incident a secret.Written by
Dave Jenkins <david.jenkins@smallworld.co.uk>
Executive Producer Bruce Gilbert stated: "Like Coming Home (1978) [which also starred Jane Fonda] this is exactly the kind of film, combining entertainment and awareness, that Jane and I went into partnership to produce. The story is extremely exciting and the characters very real. The situations they move through at the power plant and the television station have been scrupulously researched and re-created. The scariest part about this thriller is its frightening duplication of real life". See more »
Goofs
When Jack sets down his coffee cup, just after the earthquake, the handle points towards the edge of the counter. In the close up the handle points to the corner. See more »
Quotes
Greg Minor:
[re evidence of a nuclear power plant accident]
I may be wrong, but I'd say you're lucky to be alive. For that matter, I think we might say the same for the rest of Southern California.
See more »
Centrally focused on the nuclear power industry, James Bridges's film contains a subtext indicting the news media, particularly television. His story leaves no room to doubt that there is a nexus between the moguls of the two industries which influences the way stories are, first, treated and, secondly, presented.
He may exaggerate to make his point, but he makes it so prominent that its place cannot be overlooked in examining the whole of the film.
Bridges also knows Hitchcock's trick of frustrating the audience with the passage of time. When Kimberly's crew is waiting at a public hearing for Jack to arrive with evidence, the performance of the enviro-protesters with their neat clothes, neat black gags and silent protest is as excruciating as nails scraping a blackboard. The audience is more anxious than the characters for an arrival to put an end to it.
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Centrally focused on the nuclear power industry, James Bridges's film contains a subtext indicting the news media, particularly television. His story leaves no room to doubt that there is a nexus between the moguls of the two industries which influences the way stories are, first, treated and, secondly, presented.
He may exaggerate to make his point, but he makes it so prominent that its place cannot be overlooked in examining the whole of the film.
Bridges also knows Hitchcock's trick of frustrating the audience with the passage of time. When Kimberly's crew is waiting at a public hearing for Jack to arrive with evidence, the performance of the enviro-protesters with their neat clothes, neat black gags and silent protest is as excruciating as nails scraping a blackboard. The audience is more anxious than the characters for an arrival to put an end to it.