But other than praising Gibson's entertaining gonzo turn, critics weren't so kind. Audiences responded, making it a box-office hit, and the chemistry between the two stars was palpable. F.S.Īt the peak of their fame, Mel Gibson and Roberts co-starred in this thriller directed by Richard Donner about a conspiracy-obsessed cabbie and the Justice Department lawyer who comes to believe him. Eating her way through Italy, praying her way through India, and finding love with the hunky Javier Bardem in Indonesia, Roberts made being angst-ridden seem seriously sexy. It was critically panned, but this adaptation of Elizabeth Gilbert’s memoir of self-actualization was a box-office hit. Image Credit: Columbia Pictures/Photofest But the contrivances of Nancy Meyers' screenplay made a pretty flimsy scaffold for antagonistic flirtation between Roberts and Nick Nolte, and the ostensible high stakes of the mystery they're investigating got in the way of light romance. This rival-journalists mystery/romance boasted a setup straight from Hollywood's golden era. With a touch of self-mockery and sharp comic timing, she brings the jealous Queen to wicked life. If a certain celebrity self-regard has crept into Roberts’ work over the years, she uses it to winning effect in Tarsem Singh’s retelling of Snow White, a fractured fairy tale that lands somewhere between Disney and Grimm. Consider the actress' debt to her Pretty Woman director paid in full. Roberts is upstaged by her spectacularly cheap-looking wig in Garry Marshall's ghastly ensemble comedy, which flits among a handful of vapid characters in the lead-up to the titular holiday. Image Credit: Courtesy of Open Road Films Her knack for physical comedy shines through, and, for a brief instant, she lets loose with that soon-to-be-famous laugh. In the unconvincing story of four high school girls’ rock-ish band, sixth-billed Roberts is the flirt on bass. It’s mostly big hair and big earrings for Roberts’ first credited big-screen performance, an Aaron Spelling-produced vehicle for Justine Bateman. Her brief appearance as the check-in official at a Texas livestock contest may have some connection to cinematographer Danny Moder, who also happens to be her husband. Roberts make an unlikely cameo in this cornball slice of folksy Americana about a single mom, two cute kids and a prize-winning cow. She has little more than a colorless cameo, allowing her to emerge relatively unscathed from all the scenery-chewing, horse-punching histrionics. Roberts was still a virtual unknown when she appeared alongside older brother Eric, Michael Madsen and Dennis Hopper in director Peter Masterson’s clunky revenge western about Sicilian émigrés in late 19th century California.
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