Jack Thibeau Movies

After English professor Charles Lattimore (Pierce Brosnan) assigns his class to plot the perfect murder, he finds himself the prime suspect in a police investigation after a student and another faculty member wind up dead. ~ Jason Ankeny, Rovi

L.A. cop Martin Riggs (Mel Gibson), whose wife has recently died, is a loose cannon with a seeming death wish. This makes him indispensable in collaring dangerous criminals, but a liability to any potential partners. Roger Murtaugh (Danny Glover), a conservative family man who wants to stay alive for his upcoming 50th birthday, is partnered with Riggs. As Riggs gets to know Murtaugh and his family, he begins to mellow, though his insistence on using guerilla tactics to catch criminals is still (put mildly) above and beyond the call of duty. The main villain is The General (Mitchell Ryan), a drug dealer responsible for the death of the daughter of one of Murtaugh's oldest friends. The General is also in charge of a deadly, militia-like gang of smugglers. Adding fuel to the fire is The General's chief henchman, played with all stops out by Gary Busey. Moviegoers familiar only with the relatively tongue-in-cheek Lethal Weapon sequels may be amazed to find out how dangerous and unpredictable Riggs is in the first Lethal Weapon -- and how likely it seems that Murtaugh might not survive until fade-out time. ~ Hal Erickson, Rovi

In this arch sci-fi sex comedy-cum-action extravaganza, a hard-nosed female mercenary helps a hapless yuppie find a new body for his robot girlfriend in the post-industrial wasteland of the American Southwest. In the year 2017, what little remains of civilization feeds off the scrap heap of 20th century waste, while even casual sex has become a matter of regulations and contracts. Like many other members of the L.A. white-collar elite, Sam Treatwell (David Andrews) takes refuge in a quasi-marriage with his beloved sex robot, Cherry (Pamela Gidley). After a soft-focus, bubbly sexcapade short circuits Cherry's body, Sam considers replacing her, but the shoddy production values of modern robots make it obvious that the vintage appliance is irreplaceable. To put it simply, the guy's in love. The wistful romantic therefore heads out to The Zone, a forbidding no man's land, where he hopes to find a new "chassis" in which to insert Cherry's unique personality chip. To do so, he needs the help of a "tracker," and E. Johnson (Melanie Griffith) is just the woman for the job. The gun-toting, red-headed road warrior leads Sam through a dystopian desert landscape full of psychopaths and opportunists toward their final destination: an abandoned warehouse full of antique androids. Along the way, Sam learns what it's like to interact with a woman who has brains and a heart instead of a microchip. Filmed in 1986, Cherry 2000 didn't receive its limited theatrical release until 1988, the same year star Griffith received an Oscar nomination for her role in Working Girl. Griffith and director Steven de Jarnatt previously worked together on the pilot for the 1980s revival of Alfred Hitchcock Presents. Ben Johnson, veteran of many a Hollywood Western, appears as E. Johnson's mentor, Six Finger Jake. ~ Brian J. Dillard, Rovi

In this drama, an angry, bereaved husband decides to get his own kind of justice after the man who killed his wife and son is freed on a legal technicality. ~ Sandra Brennan, Rovi

In yet another ostensible thriller about deadly germs wreaking havoc on human life and psyches, this is a frenetic, uneven story about germs going berserk in a sealed-off lab, giving rise to infected humans more berserk than the germs. The lab is secretly developing weapons of biological warfare, and when an accident occurs that immediately seals off the building, it looks as though some of the workers have died from their exposure to the invisible killers. But, lo and behold, these apparent corpses leap up from death and, rabidly homicidal, they can hardly wait to kill off any human in their vicinity. This makes the potential victims about as vicious as their attackers in their need to escape from room to room, turning the lab into a kind of asylum for the homicidally insane. No wonder that chief cop Cal Morse (Sam Waterston) has a job and a half on his hands -- made worse because his girlfriend (Kathleen Quinlan) is in there with the loonies. ~ Eleanor Mannikka, Rovi

Blood Feud was a two-part TV drama, originally presented as an "Operation Prime Time" special. Robert Blake is disturbingly convincing as labor leader Jimmy Hoffa, engaged in a decade-long war of words with attorney (and later attorney general) Robert F. Kennedy. Cotter Smith makes his TV debut as Kennedy, a role he'd repeat on future occasions. Thoroughly compelling when sticking to the facts, the drama falls apart whenever indulging in flight of fanciful speculation (Sample: two of Hoffa's lieutenants watch the live telecast of Lee Harvey Oswald's murder, then celebrate the fact that Oswald will never be able to reveal their complicity in the JFK assassination!) Blood Feud was syndicated to local TV stations beginning April 24, 1983. ~ Hal Erickson, Rovi

A variation on the "buddy-cop" hybridized genre, 48 HRS. greatly bolstered the career of Nick Nolte and made comedian Eddie Murphy a bonafide box-office sensation. When a pair of reckless cop-killers break out of prison, grizzled detective Jack Cates (Nolte) is left no alternative but to spring fast-talking hustler Reggie Hammond (Murphy) from the penitentiary in order to find the criminals. The catch: the pair only have 48 hours to complete their assignment before Hammond must return to prison. Naturally, the two despise each other and even engage in fisticuffs, but eventually the danger facing them proves a strong enough common bond for them to play on the same team, and even achieve a little mutual admiration. ~ Jeremy Beday, Rovi

Undeservedly thrashed by mainstream critics in its initial theatrical run, this stylish urban thriller from quirky director Abel Ferrara has since developed a modest cult following. The late Zoe Tamerlis stars as Thana, a mute seamstress in New York's Garment District who is raped by two different assailants in a single evening -- once on her way home, a second time in her apartment by a sleazy burglar (Peter Yellen). She manages to bludgeon her second attacker to death with an iron, keeping his .45 automatic and disposing of his body one piece at a time in various locations throughout the city. When a bystander tries to apprehend her after watching her dispose of another grisly piece of evidence, she shoots him dead with the automatic. This act of violent release triggers a latent misanthropic impulse in the waifish Thana -- who was not very stable to begin with -- and she begins pumping hot lead into any predatory male she can find. The bloodbath continues unabated until the surreal, Sam Peckinpah-inspired climax, in which our anti-heroine escapes a Halloween party to square off against multiple male foes while wearing a nun's habit and blood-red lipstick. This film could be viewed as a distaff version of Ferrara's Driller Killer; where the director's previous effort was purely nihilistic, with a killer driven by urban decay, here he depicts Thana as a gun-toting agent of revenge who seems to have absorbed the collective anger of wronged women everywhere -- including women exploited in other movies of the same genre. ~ Cavett Binion, Rovi

This sequel to Every Which Way But Loose finds Philo Beddoe (Clint Eastwood) on the road, orangutan companion Clyde in tow, as he makes his way as a bare-knuckle fighter. The action begins with Philo punching out a new victim while Clyde relieves himself on the seat of a police car, setting the tone for the rest of the story. From there, Philo and Clyde return home, where Philo, who still lives with Ma (Ruth Gordon), is offered a contest with Jack Wilson (William Smith), the Mafia-sponsored East Coast bare-knuckle champ. Philo inadvertently saves Wilson's life, but then the Mafia kidnaps his girlfriend (Sondra Locke) to force him to go ahead with the match. Philo and Wilson team up to battle the Mob, but somehow they end up fighting anyway in a grueling climactic sequence. Country music, bikers, the Mafia, an orangutan, pick-up trucks, defecation jokes, fighting, drinking, and swearing -- it's all here in this lowbrow comic stew. ~ Don Kaye, Rovi

It's December of 1941, and the people of California are in varying states of unease, ranging from a sincere desire to defend the country to virtual blind panic in the wake of the Japanese attack on Pearl Harbor. Thus begin several story threads that comprise the "plot" of this strange period comedy, a sort of satirical disaster movie, from Steven Spielberg. The stories and story threads involve lusty young men, officers (Tim Matheson) and civilians (Bobby Di Cicco) alike, eager to bed the young ladies of their dreams; Wild Bill Kelso, a nutty fighter pilot (John Belushi) following what he thinks is a squadron of Japanese fighters along the California coast; a well-meaning but clumsy tank crew (including John Candy) led by straight-arrow, by-the-book Sgt. Tree (Dan Aykroyd), who doesn't recognize the thug (Treat Williams) in his command; and homeowner Ward Douglas (Ned Beatty), who is eager to do his part for the nation's defense and, despite the misgivings of his wife (Lorraine Gary), doesn't mind his front yard overlooking the ocean being chosen to house a 40 mm anti-aircraft gun. There is also a pair of grotesquely inept airplane spotters (Murray Hamilton, Eddie Deezen) who are doing their job from atop a ferris wheel at a beachfront amusement park; a paranoid army colonel (Warren Oates) positive that the Japanese are infiltrating from the hills; a big dance being held on behalf of servicemen, being attended by a lusty young woman of size (Wendie Jo Sperber) eager to land a man in uniform; and General Joseph "Vinegar Joe" Stillwell (Robert Stack), in charge of the defense of the West Coast, who can't seem to get anyone to listen to him when he says to keep calm. And, oh yes, there's also a real Japanese submarine that has gotten all the way to the California coast under the command of its captain (Toshiro Mifune) and a German officer observer (Christopher Lee), only to find itself without a working compass or usable maps. Its captain won't leave until the sub has attacked a militarily significant, honorable target, and the only one that anyone aboard ship knows of in California is Hollywood. By New Year's Eve, all of these characters are going to cross paths, directly or once-removed, in a comedy of errors and destruction strongly reminiscent of the finale to National Lampoon's Animal House (as well as several disaster movies from the same studio), but on a much larger and more impressive scale. ~ Bruce Eder, Rovi

After being briefly pre-empted by the debut telecast of Roots, Streets of San Francisco returned to the ABC prime time fold with this tense psychological drama focusing on Douglas French (Alan Fudge), a chronic alcoholic and wife-beater. Awakening from a hangover, French discovers that his wife Helen (Marlyn Mason) has disappeared. Unable to remember what happened, French is convinced along with the authorities that he has killed his wife--but the plot thickens when Stone and Robbins discover that the still-missing Helen has been carrying on a double life! ~ Hal Erickson, Rovi