Paul Jabara Movies

Director Bruce Paltrow teams with his Oscar-winning daughter Gwyneth Paltrow for this road comedy with music. Paltrow plays Liv, a struggling professional singer whose meets her father, Ricky Dean (Huey Lewis), for the first time at the funeral of her mother. As it turns out, both Liv and Ricky supplement the income from few-and-far-between gigs by singing in karaoke contests, and soon father and daughter are competing on the same circuit. Meanwhile, Todd Woods (Paul Giamatti), a salesman who has grown disenchanted with his job, his family, and his life, picks up a hitch-hiker named Reggie Kane (Andre Braugher), and during a stop at a tavern, they discover they make a good duet team while belting out a version of "Try A Little Tenderness." And waitress Suzi Loomis (Maria Bello) sweet talks Billy (Scott Speedman), a cabbie, into driving her to Omaha, where the national karaoke finals will determine who does the best job of singing along with the records, as the lives of these six characters begin to intersect. Duets also features Angie Dickinson as Blair, Liv's grandmother who was once a showgirl in Frank Sinatra's Las Vegas floorshow; Brad Pitt was originally cast in Speedman's role but withdrew after he and Paltrow announced the end of their off-camera relationship. ~ Mark Deming, Rovi

Some sources list John Morrissey as director of 9 1/2 Ninjas, while others credit Aaron Worth. There's no confusion, however, as to whom the "one-half" is. That honor goes to leading lady Andee Gray, who joins an all-male Ninja training group. Gray gets a big kick out of her lessons (no pun intended), until she realizes that she's been followed. It seems that a rival contingent of ninjas intends to assassinate her. And that's only one of the many surprises in store for the viewers of 9 1/2 Ninjas; this is no run-of-the-mill chopsocky effort, but a dizzy plunge into near-surrealism. ~ Hal Erickson, Rovi

Essentially a showcase for the talents of Australian comedian Barry Humphries, this earthy comedy tells the tale of a boorish and boozy Aussie ambassador and his wife (Humphries plays both characters) who are stationed in a Middle Eastern country. There, they end up saving the world from the bio-hazard engineered by the nefarious Dr. Herpes. ~ Sandra Brennan, Rovi

Out of the Darkness recreates the terrifying 13-month (1976-77) period when the serial killer known as "Son of Sam" held New York in a grip of terror. Martin Sheen plays real-life police officer Ed Zigo, a veteran "negotiator" who joins the Son of Sam task force in hopes of weeding out the elusive killer. Sheen's personal problems, including the illness and death of his wife (Jennifer Salt) somehow do not impede his ability to pursue his investigation. The vital clue in the proceedings is a discarded parking ticket. The made-for-television Out of the Darkness was first screened October 12, 1985. ~ Hal Erickson, Rovi

Director Bob Fosse's fact-based tale of Playboy centerfold Dorothy Stratten's short life and gruesome death focuses less on Stratten (played by Mariel Hemingway) than on her husband/manager, sleazoid pornographer and all-around failure Paul Snider (Eric Roberts, ideally cast). He sees the young beauty as his meal ticket and sets out to pimp her in the adult entertainment business. He marries her and appoints himself her career manager; soon after, she attracts the attention of Playboy executives and wins a spot in the magazine. As her success increases however, so does Snider's alienation as he finds himself left out in the cold. His jealousy begins to consume him; she spurns him on the advice of her new friends; he goes berserk and confronts her. The same murder-suicide inspired the made-for-television Death of a Centerfold. This was choreographer/filmmaker Bob Fosse's final film. ~ Jeremy Beday, Rovi

An ambitious Parisian fashion designer finds romance and great career success in this story about the life and loves of the legendary couturier, Coco (Gabrielle) Chanel. ~ Kristie Hassen, Rovi

The Zoo is the hottest disco in town, and on the night of the big dance contest, a wild assortment of disparate characters find themselves out on the floor together. DJ Bobby Speed (Ray Vitte) is convinced that broadcasting the show live on the radio waves and having the Commodores as musical entertainment will boost his career, but when their equipment gets lost on the highway, he starts to lose his cool. Nicole (Donna Summer) is a bumbling but beautiful neophyte singer who schemes to earn her big break on the disco's stage. Frannie and Jeannie (Valerie Landsberg and Terri Nunn) are underage high school girls who need the contest prize money to buy Kiss concert tickets. A bored married couple (Mark Lonow and Andrea Howard) stumble into the Zoo on their anniversary; their relationship is tested by a wacky pill-popping vixen (Marya Small) and the disco's womanizing owner (Jeff Goldblum). A host of mismatched singles make the scene hoping for a chance at love (or at least a one night stand), though the exuberant Marv "Leather Man" Gomez (Chick Vennera) lives only to dance, and expounds on his philosophy at length. There's plenty of thumping disco action and nothing but happy endings in this colorful period comedy. ~ Fred Beldin, Rovi

The Day of the Locust is anything but a cheerful, light look at Hollywood in the '30s. It recreates both the town as well as the filmmaking world around which much of the town revolved with devastating accuracy. The movie tells the twin tales of talentless wannabe actress Faye Greener (Karen Black) and Homer Simpson (Donald Sutherland), a lovelorn accountant who couldn't care less about movies. Around this framework, a huge and intricate social network is tellingly revealed, until the film's gruesome and tragic ending. Not for those who prefer to hang onto their illusions about the glory days of Hollywood, The Day of the Locust, based on the novel by Nathanael West, is a must-see for serious film buffs. ~ Clarke Fountain, Rovi

This low-budget independent film by novice directors Stephen F. Verona and Martin Davidson is a slice-of-life elegy from the leather-jacket, bobby-soxer era of 1957, set in a Brooklyn high school. The film stands out for the appearance of up-and-coming actors (circa 1974) Sylvester Stallone, Henry Winkler, and Perry King (even Armand Assante has a bit role). Stallone, Winkler, King, and Paul Mace are members of a local neighbor social club called "The Lords of Flatbush," and they spend their time exercising their hormones, hot-wiring a car, playing pool, and quaffing egg creams at the local candy store. The film finally focuses its interest on two of the "lords." Chico (Perry King), owns a motorcycle and wheels over to see Jane Bradshaw (Susan Blakely), the daughter of an army colonel who, despite Chico's motorcycle, gives him the brush-off. Then there is the muscle-headed Stanley Rosiello (Sylvester Stallone), who, like Marlon Brando in On the Waterfront, loves pigeons. He also loves Frannie (Maria Smith), with whom he has bedded down under the boardwalk one too many times, and now finds that she is pregnant and wants to get married. Skirting along the edges of the frame are Butchey Weinstein (Henry Winkler) and Wimpy Murgalo (Paul Mace), who, as second bananas, go along with Chico and Stanley as they adjust their testosterone to adult living. ~ Paul Brenner, Rovi

Put in the coldest possible terms, Medea is the story of a woman who gets sore at her husband and kills her children to get even. Greek opera diva Maria Callas is certainly in her element as Medea in this 1970 film version of the venerable theatrical piece, with Giuseppe Gentili as her husband Jason and Massimo Girotti as her father, King Creon. When Jason announces that he's prepared to bigamously marry princess Glauce (Margareth Clementi), she exacts her bloody revenge. Despite the excess verbiage and his notoriously loquacious leading lady, director Pier Paolo Pasolini conveys most of Medea's plotline visually. ~ Hal Erickson, Rovi

Based on a James Leo Herlihy novel, British director John Schlesinger's first American film dramatized the small hopes, dashed dreams, and unlikely friendship of two late '60s lost souls. Dreaming of an easy life as a fantasy cowboy stud, cheerful Texas rube Joe Buck (Jon Voight) heads to New York City to be a gigolo, but he quickly discovers that hustling isn't what he thought it would be after he winds up paying his first trick (Sylvia Miles). He gets swindled by gimpy tubercular grifter Rico "Ratso" Rizzo (Dustin Hoffman) but, when Joe falls in the direst of straits, Ratso takes Joe into his condemned apartment so that they can help each other survive. Things start to look up when Joe finally lands his first legit female customer (Brenda Vaccaro) at a Warhol-esque party; Ratso's health, however, fails. Joe turns a final trick to get the money for one selfless goal: taking Ratso out of New York to his dream life in Miami. One of the first major studio films given the newly minted X rating for its then-frank portrayal of New York decadence, Midnight Cowboy was critically praised for Schlesinger's insight into American lives, with the intercut mosaic of Joe's memories and Ratso's dreams lending their characters and actions greater psychological complexity. While they may have been drawn by the seamy content (tame by current standards), the young late '60s audience responded to Joe's and Ratso's confusion amidst turbulent times and to the connection they make with each other despite their alienation from the surrounding culture. Midnight Cowboy became one of the major financial and artistic hits of 1969, winning Oscars for Best Picture (the first for an X-rated film), Best Director, and former blacklistee Waldo Salt's screenplay. Though the one-two punch of Midnight Cowboy and The Graduate (1967) proved Hoffman's range and Voight's Joe Buck made him a star, both lost Best Actor to classical cowboy John Wayne for True Grit. The film was later re-rated R by the MPAA. ~ Lucia Bozzola, Rovi