Ted Duncan Movies

This follow-up to 1989's unexpected comedy hit Major League continues the broadly humorous adventures of the misfit Cleveland Indians. No longer the scrappy survivors who pulled off an upset championship victory, the Indians have let success go to their heads, accepting movie roles and hefty endorsement deals. Unfortunately, with success comes complacency, and the Indians soon wind up back in last place. When this poor performance winds up threatening the franchise, the team rediscovers its roots and again achieves unlikely success. Original director David S. Ward brings back most of the first film's memorable characters, including unconventional pitcher Rick "Wild Thing" Vaughn (Charlie Sheen), voodoo practitioner-turned-Buddhist Pedro Cerrano (Dennis Haysbert), and base stealer-turned-movie star Willie Mays Hayes (Omar Epps, replacing Wesley Snipes). ~ Judd Blaise, All Movie Guide

Director John Carpenter returns to the suburban landscape he explored so chillingly in Halloween (1978) with this lean, stripped-down adaptation of the Stephen King best-seller about a haunted car with a devilishly bad attitude and the teen underdog who falls head-over-heels for her chrome-accented charms. Shortly after geeky, horn-rim-sporting Arnie Cunningham (Keith Gordon) narrowly escapes a beating at the hands of shop-class bully Buddy Repperton (William Ostrander) on the first day of his senior year, he soon falls prey to a far more duplicitous villain in the form of a rusted-out 1958 Plymouth Fury nicknamed "Christine" by its crusty owner George LeBay (Roberts Blossom) -- who sells wide-eyed Arnie the old hulk despite the protests of best friend Dennis (John Stockwell) and the admonition of his domineering parents. As Arnie sets to the task of restoring Christine, his hobby grows into an obsession -- and the real power that hums beneath her hood begins to emerge, seemingly granting newfound coolness and sex appeal to the once-nerdy outcast, while simultaneously drawing away his very soul. A vengeful spirit, Christine lashes out violently at those who dare to stand between her and Arnie -- starting with Repperton and his gang, who completely trash the car, but are soon hunted down one by one and pulverized beneath the whitewalls of the miraculously-restored Fury. When Arnie's pretty, popular girlfriend Leigh (Alexandra Paul) begins to suspect she may soon be on the receiving end of automotive vengeance, she calls on Dennis for help... but a frightening midnight ride in Christine convinces Dennis that Arnie's only hope lies in destroying the demonic vehicle. ~ Cavett Binion, All Movie Guide

This is an unusual entry in the knights-in-armor genre. Set in medieval England, the film follows the exploits of a young swordsman, Talon (Lee Horsley). Working as a mercenary knight, Talon possesses a unique three-bladed sword which fires its two extra blades when he touches a button. By chance, Talon learns that he is a prince who has forgotten his royal heritage. Using his sword and his wiles, he attempts to regain control of his kingdom, which has been taken over by a sadistic tyrannical knight and an evil sorcerer. In doing so, he can save a princess who has been taken hostage by the usurpers. Comedy is interspersed with gory and licentious drama throughout the film, which was directed and written by Albert Pyun. ~ Michael Betzold, All Movie Guide

Karate champ Chuck Norris returns for another chop-socky vigilante flick in The Octagon, one of a handful of undistinguished Ninja pictures released during the early '80s. Norris appropriately plays a retired karate champ hired as a bodyguard for a wealthy woman (Karen Carlson) plagued by a gang of vicious ninjas. Reluctant at first to take the job, he reconsiders when he learns the gang is headed by his longtime arch rival Tadashi Yamashita (Lee Van Cleef). The script -- as is the case in nearly every Ninja film -- has holes bigger than Okinawa, and the acting is downright atrocious, particularly that of Norris, who, thankfully, improved with time. However, the production values are fair, as is the direction, and the action sequences are often exciting and comparatively realistic. Recommended for genre fans only. ~ Jeremy Beday, All Movie Guide

The Soviets and Americans combine forces to save the world from a meteor in this science fiction disaster adventure. Bradley (Sean Connery) is an American scientist who teams up with Dubov (Brian Keith), and his translator-assistant Tatiana (Natalie Wood) later falls in love with Bradley. Hong Kong and New York are hit hard by tidal waves as the scientists race against time to prevent global disaster. Although a fine cast is assembled, nobody stands out, and the real star of the film is the special effects. This 18-million-dollar feature faced real economic disaster at the box office, although four engineers received an Oscar nomination for "Best Sound" for this forgettable film. ~ Dan Pavlides, All Movie Guide

Based on the life story of NASCAR auto racing champion Wendell Scott, this film, starring Richard Pryor as Scott, covers his struggles -- from the end of World War II to 1971-- to overcome racism and gain the freedom to demonstrate his winning auto-racing skills to everyone. He is not without support: he has Mary Jones (Pam Grier), his loving wife, a sense of humor, and quite a few good friends, including the white race-car driver Hutch (Beau Bridges). Filmed in the Atlanta area, this movie features performances by folksinger Richie Havens, Julian Bond (later a Congressman), and Maynard Jackson (at one time Atlanta's mayor). ~ Clarke Fountain, All Movie Guide

Freebie (James Caan) and the Bean (Alan Arkin) are a pair of San Francisco cops. Red Meyers (Jack Kruschen) is the mobster whom Freebie and the Bean would like to see behind bars -- or, failing that, six feet under. Nothing stands in the way of the cops' pursuit of Meyers, meaning that private property is given quite a going-over in this picture. The film's most memorable scene finds Freebie and the Bean crashing their car into a poor schnook's living room. TV favorites Loretta Swit and Valerie Harper play the only female roles worth mentioning. The racist and sexist humor in Freebie and the Bean may not go over as well today as it did in the politically incorrect early '70s. ~ Hal Erickson, All Movie Guide

Those who worried that the Disney studio would collapse without the presence of the late Uncle Walt were put at ease when the profits starting rolling in for The Love Bug. The "star" is Herbie, a lovable little Volkswagen with a personality all its own. Abused by a bad guy race-car driver (David Tomlinson), Herbie is rescued by a good guy racer (Dean Jones). Out of gratitude, Herbie enables the luckless good guy to win one race after another. The real fun begins when the ruthless hot-rodder connives to get Herbie back through fair means or foul. Based on a story by Gordon Buford, The Love Bug inspired two equally lucrative sequels, Herbie Rides Again and Herbie Goes to Monte Carlo. ~ Hal Erickson, All Movie Guide

Sometime during the shooting of the landmark The Birth of a Nation, filmmaker D.W. Griffith probably wondered how he could top himself. In 1916, he showed how, with the awesome Intolerance. The film began humbly enough as a medium-budget feature entitled The Mother and the Law, wherein the lives of a poor but happily married couple are disrupted by the misguided interference of a "social reform" group. A series of unfortunate circumstances culminates in the husband's being sentenced to the gallows, a fate averted by a nick-of-time rescue engineered by his wife. In the wake of the protests attending the racist content of The Birth of a Nation, Griffith wanted to demonstrate the dangers of intolerance. The Mother and the Law filled the bill to some extent, but it just wasn't "big" enough to suit his purposes. Thus, using The Mother and the Law as merely the base of the film, Griffith added three more plotlines and expanded his cinematic thesis to epic proportions. The four separate stories of Intolerance are symbolically linked by Lillian Gish as the Woman Who Rocks the Cradle ("uniter of the here and hereafter"). The "Modern Story" is essentially The Mother and the Law; the "French Story" details the persecution of the Huguenots by Catherine de Medici (Josephine Crowell); the "Biblical Story" relates the last days of Jesus Christ (Howard Gaye); and the "Babylonian Story" concerns the defeat of King Belshazzar (Alfred Paget) by the hordes of Cyrus the Persian (George Siegmann).

Rather than being related chronologically, the four stories are told in parallel fashion, slowly at first, and then with increasing rapidity. The action in the film's final two reels leaps back and forth in time between Babylon, Calvary, 15th century France, and contemporary California. Described by one historian as "the only film fugue," Intolerance baffled many filmgoers of 1916 -- and, indeed, it is still an exhausting, overwhelming experience, even for audiences accustomed to the split-second cutting and multilayered montage sequences popularized by Sergei Eisenstein, Orson Welles, Jean-Luc Godard, Joel Schumacher, and MTV. On a pure entertainment level, the Babylonian sequences are the most effective, played out against one of the largest, most elaborate exterior sets ever built for a single film. The most memorable character in this sequence is "The Mountain Girl," played by star on the rise Constance Talmadge; when the Babylonian scenes were re-released as a separate feature in 1919, Talmadge's tragic death scene was altered to accommodate a happily-ever-after denouement. Other superb performances are delivered by Mae Marsh and Robert Harron in the Modern Story, and by Eugene Pallette and Margery Wilson in the French Story. Remarkably sophisticated in some scenes, appallingly naïve in others, Intolerance is a mixed bag dramatically, but one cannot deny that it is also a work of cinematic genius. The film did poorly upon its first release, not so much because its continuity was difficult to follow as because it preached a gospel of tolerance and pacifism to a nation preparing to enter World War I. Currently available prints of Intolerance run anywhere from 178 to 208 minutes; while it may be rough sledding at times, it remains essential viewing for any serious student of film technique. ~ Hal Erickson, All Movie Guide