John Carson Movies

Self-involved corporate raider Edward Lewis (Richard Gere) has recently split up with his girlfriend. Seeking directions to the Beverly Hills Hotel, he makes the acquaintance of free-spirited hooker Vivian Ward (Julia Roberts) and decides to put her on a 3,000-dollar retainer as his "date." He Cinderellarizes her by bankrolling a full wardrobe and cosmetic makeover. Of course, the setup will be strictly platonic. A disarming modern-day fairy tale, Pretty Woman was the picture that made Julia Roberts a superstar. As charming as she is in her "giggling" sequences, Roberts' best scene is her triumphant return to a posh Rodeo Drive shop where she'd been previously snubbed. Keeping Pretty Woman afloat throughout is the buoyant direction of Garry Marshall and the always welcome presence of Marshall's stock company of actors, including Hector Elizondo as a stuffy but golden-hearted concierge. Pretty Woman began its life as a much darker story of prostitutes and homicidal drug dealers, but more box-office-savvy heads ultimately prevailed. ~ Hal Erickson, Rovi

With a cast sure to please cult and horror fans alike, this pseudo-women's-prison film from director Hikmet Avedis is a good bet for genre followers. Pretty Dianne Hull plays Kelly McIntire, a disco bartender who is poisoned as part of a botched murder scheme and sent to a mental hospital. Once there, she is raped by evil orderly Carl (Bo Hopkins), witnesses murders and suicides, and eventually escapes only to be dragged screaming back to the horrors of the fifth floor. Cathey Paine, who played Leslie Van Houten in Helter Skelter, is among the many familiar faces, which also include such horror icons as Robert Englund and Michael Berryman. But the film belongs to Bo Hopkins, who is all smiling menace and who turns in a scary performance and gives the film what force it has, as screenwriter Meyer Dolinsky puts Hull through some rather unconvincing maneuvers in the lead. Still, although there are a number of lapses in logic, they don't detract from the frightening premise that almost any statement or action could be construed as a sign of dementia in the proper circumstances. ~ Robert Firsching, Rovi

A WW I German spy attempts to drive an artillery-adorned automobile into the States in this comedy. ~ Kristie Hassen, Rovi

When Bigfoot is sighted near a Louisiana lake, two college students (Dennis Fimple, John David Carson) camp out to confirm the legendary monster's identity. ~ John Bush, Rovi

A terminally ill teacher schemes to get the money from the double-indemnity clause in his life insurance policy. ~ Rovi

Shirley (Shirley Jones) discovers to her horror that her credit rating has been destroyed to a department-store computer error. Young computer whiz Tom Baker (John David Carson) does his best to rectify the mistake, only to inadvertently run Shirley's 29-dollar debt into the thousands! Elements crucial to the plot include an aggressive collection agency, a grass-roots picket line, and a malfunctioning cuckoo clock. Song: "Maybe Someday". (Trivia note: guest star John David Carson had played Keith Partridge in the original, unsold Partridge Family pilot film). ~ Hal Erickson, Rovi

"Mom" is Connie Stevens, who stars in this made-for-TV comedy. Stevens plays a small-town waitress who is appointed the housemother for a rambunctious fraternity house on the local college campus. The frat boys assume that freewheeling Stevens will allow them to party to their hearts' content, but "Mom" takes her job quite seriously and compels the students to behave themselves. She also becomes involved in a campus feminist movement that threatens to topple the college's male power structure (headed by dean Van Johnson). Call Her Mom was the pilot for a Connie Stevens TV series that found neither a sponsor nor a network. ~ Hal Erickson, Rovi

Ocean View High is an upscale suburban school in an otherwise unidentified community. It's 1971, the point when the sexual revolution started moving into full swing and even a lot of Middle America, at least on the two coasts, admitted the existence of same revolution. It seems like the guys and girls at Ocean View are all loving pretty freely, and that extends to the school's resident faculty hero, football coach/guidance counselor "Tiger" McDrew (Rock Hudson), who -- despite his being married, with a child -- has been bedding many of the prettiest girls at the school. The only kid seemingly not "getting any" is Ponce de Leon Harper (John David Carson), who is starting to get neurotic and suffer academically, so much so that he seeks advice from McDrew, especially where his new substitute teacher, Miss Smith (Angie Dickinson), is concerned. But then various girls start turning up at the school dead, in various states of undress, with cryptic notes pinned to intimate parts of their anatomy. The lunkhead county sheriff (Keenan Wynn) is forced to defer to a state police investigator (Telly Savalas), who starts nosing around the school and uncovers more than he bargained for in terms of libidinous students, among other problems. Meanwhile, Ponce finds his problem taken care of by Miss Smith, at McDrew's request. But there's still a killer stalking the school.

If the plot and ambience of this movie seems shocking today, that's because it would be. Made at the outset of the sexual revolution, this was MGM's desperate attempt to run with the times, in terms of depicting a high school where sexual relations between students are considered routine and even those between faculty and students are accepted as long as they're kept quiet. Anyone trying to make such a movie in 2006 would face threats of prosecution, investigation, etc., and probably find it impossible to get the movie booked into theaters; MGM didn't have that easy a time in 1971, though (amazingly) the movie has been shown on television. Precisely what director Roger Vadim brought to Gene Roddenberry's screenplay (based on a novel by Francis Pollini) is difficult to tell, though he at least makes the sleazy and tawdry, smirky sex scenes and leering camera shots flow smoothly -- screenplay, director, and cameraman alike are fixated on the female anatomy throughout, though not in as distinctive a manner as Russ Meyer and his attachment to breasts. The presence of a couple of Star Trek co-stars and supporting villains, James Doohan and William Campbell, also makes this especially weird to watch. ~ Bruce Eder, Rovi

Randolph Scott is as strong and silent as ever in Thunder Over the Plains. The scene is Texas, in the years just following the Civil War. Carpetbaggers have taken hold of the Texas government and imposed a near-dictatorship, hiding behind the legal protection of the Union Army of Occupation. Though his heart belongs to Dixie, Captain David Porter (Scott) is honor-bound to uphold the law of the land, even though it protects criminals and persecutes the innocent. Eventually, Porter reveals his true feelings as he tries to clear Texas patriot Ben Westman (Charles McGraw) from a murder charge framed by villains Standish (Elisha Cook Jr.) and Balfour (Hugh Sanders). Meanwhile, caddish Captain Bill Hodges (Lex Barker) tries to make time with Porter's long-suffering wife Norah (Phyllis Kirk). Perhaps a bit too complicated storywise for western fans, Thunder Over the Plains is right to the point when it comes to the action highlights. ~ Hal Erickson, Rovi