Peter Brocco

Divorce lawyer Danny De Vito warns his prospective client that the story he's about to tell isn't a pretty one, but the client listens with eager intensity -- as do the folks out there in the movie in the audience. The War of the Roses can best be described as a slapstick tragedy concerning the decline and literal fall of a marriage. After 17 years, Oliver (Michael Douglas) and Barbara (Kathleen Turner) Rose want a divorce. Not for this couple is there anything resembling a "civilized understanding": Barbara wants their opulent house, and Oliver isn't about to part with the domicile. Barbara nails the basement door shut while Oliver is downstairs, Oliver disrupts Barbara's fancy party by taking aim at the catered dinner, Barbara lays waste to Oliver's sports car....and so it goes, culminating in a disastrous showdown around, about and under the living room's fancy chandelier. DeVito and screenwriter Michael Leeson never let us forget that the couple's self-indulgent imbroglio exacts an awful price upon their children (Sean Astin and Heather Fairfield). The War of the Roses was adapted from the novel by Warren Adler. ~ Hal Erickson, All Movie Guide

The "exchange murders" plot gambit, played with utter solemnity in Hitchcock's Strangers on a Train, is used as the launching pad for raucous laughter in Throw Momma From the Train. Director/star Danny DeVito plays Owen Lift, a middle-aged bachelor, totally dominated by his gorgon mother, played with hilarious ferocity by Anne Ramsey. Billy Crystal co-stars as Larry Donner, a creative-writing professor, saddled with a vituperative, thoroughly despicable ex-wife, Margaret (Kate Mulgrew). Signing up for Larry's writing course, Owen has trouble at first with character development and construction in his stories. Larry recommends that Owen watch a screening of Strangers on a Train, which he considered a model of tight, concise storytelling. Owen is so entranced by the film that he decides to emulate Strangers star Robert Walker. That is, Owen wants Larry to bump off his mother, in exchange for Owen's murder of Margaret. Without being asked, Owen does away with Margaret (or so it seems), then hounds Larry to the point of killing "Momma." This being a comedy, the actual consequences of the swap-murder plot aren't nearly as calamitous as in the Hitchcock film. Cinematographer Barry Sonnenfeld would apply the "black humor" lessons learned in Throw Momma From the Train for his own directorial debut, The Addams Family (1991). ~ Hal Erickson, All Movie Guide

Based on the popular television series created by Rod Serling, this film of horror and the supernatural tells four separate stories--each by a different director: John Landis, Steven Spielberg, Joe Dante and George Miller. In one, a bigot is taught a lesson when he is transported to experience the lives of three different victims of prejudice and intolerance. Another takes a trip to an old-age home where the arrival of a special man turns some of the residents into youthful people once again. In the third, a woman befriends a timid young child who turns out to be a maniacal brat with bizarre powers. The final segment shows how a man with an aversion to flying has a rough time when he panics and then sees a strange creature on the wing outside his window seat. ~ Kristie Hassen, All Movie Guide

Robert Louis Stevenson's novel is satirized in this comedy about a scientist (Mark Blankfield) who is hopelessly addicted to his latest invention, a strange white powder. ~ Jason Ankeny, All Movie Guide

This "prequel" to the Newman/Redford vehicle Butch Cassidy and the Sundance Kid was written by TV sitcom veteran Allan Burns and stars Tom Berenger as Butch and William Katt as Sundance. The film, per its title, traces the formative days of Butch and Sundance's careers as soft-hearted western outlaws, and their creation of the Hole-in-the-Wall Gang. There's no Etta Place this time around; the fictional heroine, named Mary, is played by Jill Eikenberry. Only Jeff Corey, as Sheriff Ray Bledsoe, repeats his role from the original film. ~ Hal Erickson, All Movie Guide

Season Six of The Rockford Files begins as Jim Rockford (James Garner) faces permanent expulsion from the community of Paradise Cove as the result of a damage suit instigated by vindictive neighbor C.C. Calloway (Leif Erickson). Court-appointed receiver Althea Morgan (Mariette Hartley) shows up at Jim's doorstep to inventory his possessions, the better to find out if he should be forced to liquidate everything he owns to pay the $35,000 demanded in the lawsuit. As if Jim's life isn't in enough turmoil, he must also deal with a mystery involving a fortune in buried bullion, and the reopening of a scandal dating all the way back to 1929. Inevitably, all of Jim's problems turn out to be inextricably linked--and the result may prove fatal for himself and the hapless Althea. Though obviously conceived to capitalize on the popularity of the then-current camera commercials costarring James Garner and Mariette Hartley, this episode is strong enough to stand on its own merits--and Ms. Hartley earned an Emmy nomination in the bargain. ~ Hal Erickson, All Movie Guide

Brash young Andy Schmidt (Henry Winkler) can't make a go of it as an actor in the early 1950s. Still, he wins the hand of Mary Crawford (Kim Darby), and the two of them try to make ends meet in New York City. Andy is on the verge of starvation when he befriends wrestling-promoter Sidney Seltzer (Gene Saks). At last, Andy has found the perfect outlet for his overbaked performing style: he becomes "The One and Only," a Gorgeous George-like professional wrestler. Though his ring career skyrockets, Andy's private life suffers until his wife Mary lets him know (with a mean uppercut!) who's going to be boss. Like many of director Carl Reiner's directorial efforts, the real strength in The One and Only lies in its impeccable supporting cast, ranging from Polly Holliday as Darby's mother to Herve Villechaize as a horny midget "rassler." ~ Hal Erickson, All Movie Guide

Thanks to a computer foul-up, the doctors and firemen at Rampart are buried in extra paperwork. To make matters worse, the paramedic unit is saddled with a new medical-supplies nurse (Laurie Kennedy), a rule-bound martinet who insists that the staffers dot every "I" and cross every "T" before she'll requistion any equipment. This week's case load includes a drowning child in a storm drain, a warehouse fire, and a museum janitor who is poisoned by 5000-year-old Mesopotamian wine. ~ Hal Erickson, All Movie Guide

With an insane asylum standing in for everyday society, Milos Forman's 1975 film adaptation of Ken Kesey's novel is a comically sharp indictment of the Establishment urge to conform. Playing crazy to avoid prison work detail, manic free spirit Randle P. McMurphy (Jack Nicholson) is sent to the state mental hospital for evaluation. There he encounters a motley crew of mostly voluntary inmates, including cowed mama's boy Billy (Brad Dourif) and silent Native American Chief Bromden (Will Sampson), presided over by the icy Nurse Ratched (Louise Fletcher). Ratched and McMurphy recognize that each is the other's worst enemy: an authority figure who equates sanity with correct behavior, and a misfit who is charismatic enough to dismantle the system simply by living as he pleases. McMurphy proceeds to instigate group insurrections large and small, ranging from a restorative basketball game to an unfettered afternoon boat trip and a tragic after-hours party with hookers and booze. Nurse Ratched, however, has the machinery of power on her side to ensure that McMurphy will not defeat her. Still, McMurphy's message to live free or die is ultimately not lost on one inmate, revealing that escape is still possible even from the most oppressive conditions. ~ Lucia Bozzola, All Movie Guide

This classy and creative low-budget thriller depicts an all-out war of attrition between a group of neglected, disgruntled senior citizens and the heartless city officials who evicted them from their Cincinnati low-rent apartment building, which has been tagged for destruction. Their campaign goes far beyond writing strong letters to their alderman -- they begin by savagely murdering the social worker who orders their removal (Linda Marsh, in a budget Nurse Ratched mode), then take a violent stand against any contractors who attempt to stray onto their turf. Tightly directed from a clever script, portraying its geriatric killers with wit and empathy but never shying away from shocking scenes of violence. ~ Cavett Binion, All Movie Guide

Assigned to the Southwest Division, Officers Pete Malloy (Martin Milner) and Jim Reed (Kent McCord) nab a suspected peeping tom who turns out to be an innocent gas-meter reader. Elsewhere, the two cops extricate a furniture store owner who has become trapped in a doorway while repossessing a sofa, and try to mollify an extremely angry father. And there's a memorable incident involving a starving artist, an expired permit, and a questionable "masterpiece." ~ Hal Erickson, All Movie Guide

Israeli-born actor Nehemiah Persoff guests in this episode as Angelo Covelli, an immigrant Italian tailor. Signor Covelli has been acting strangely of late, arousing the interest of Officers Jim Reed (Kent McCord) and Pete Malloy (Martin Milner). The two mobile cops are aware that Angelo's brother was recently murdered--and equally aware that the old man is perfectly willing to become a killer himself to avenge his brother's death and uphold his family's honor. ~ Hal Erickson, All Movie Guide