Robert Watts Movies

This is the first mainstream film to deal with the harrowing true story of a Uruguayan rugby team whose plane crashed in the Andes mountains in October of 1972 and who were forced to resort to cannibalism to survive more than two months of isolation. (The only other film to tackle the subject, Rene Cardona's Survive! was a seedy little mess that delighted in exploiting the cannibalism aspect.) The events depicted are primarily based on the novel of the same name by Piers Paul Read. The interview-style prologue features an uncredited John Malkovich as one of the survivors, whose spiritual ruminations on the disaster kick off the film's main action. We are briefly introduced to the characters before disaster strikes, in the film's most horrifying set-piece -- the depiction of the crash in grueling detail. The handful of survivors who manage to extricate themselves from the twisted wreckage seem incapable of working through their panic as they hope against all odds that a rescue party will locate them. One of the survivors, Nando (Ethan Hawke), awakens from a coma and makes a remarkable recovery -- enough to demonstrate level-headed leadership after team captain Antonio (Vincent Spano) begins to lose his nerve. As the weeks wear on and rations are depleted, the survivors are forced into a moral dilemma: the only remaining source of food seems to be the bodies of the dead. Those who choose for religious reasons not to consume their former companions must face the realization that they will soon starve or freeze to death. In the end, three men who choose survival above all else find the strength to set out on a treacherous mission to a ridge, where hopefully one of them will make it to civilization. Director Frank Marshall infuses the proceedings with sufficient intensity to keep the story moving, but the film fails to fully explore the often-recounted spiritual aspects of the ordeal as established in the opening monologue. Ironically, the writers' apparent attempts to remain true to Read's account of events -- resulting in some rather odd stretches of dialogue -- impede the drama even more than the Hollywood glamorization of the story's nominal "heroes," who remain rugged and handsome despite months of malnutrition and severe frostbite. ~ Cavett Binion, Rovi

The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, Rovi

The second of the George Lucas/Steven Spielberg Indiana Jones epics is set a year or so before the events in Raiders of the Lost Ark (1984). After a brief brouhaha involving a precious vial and a wild ride down a raging Himalyan river, Indy (Harrison Ford) gets down to the problem at hand: retrieving a precious gem and several kidnapped young boys on behalf of a remote East Indian village. His companions this time around include a dimbulbed, easily frightened nightclub chanteuse (Kate Capshaw), and a feisty 12-year-old kid named Short Round (Quan Ke Huy). Throughout, the plot takes second place to the thrills, which include a harrowing rollercoaster ride in an abandoned mineshaft and Indy's rescue of the heroine from a ritual sacrifice. There are also a couple of cute references to Raiders of the Lost Ark, notably a funny variation of Indy's shooting of the Sherpa warrior. ~ Hal Erickson, Rovi

Indiana Jones (Harrison Ford) is no ordinary archeologist. When we first see him, he is somewhere in the Peruvian jungle in 1936, running a booby-trapped gauntlet (complete with an over-sized rolling boulder) to fetch a solid-gold idol. He loses this artifact to his chief rival, a French archeologist named Belloq (Paul Freeman), who then prepares to kill our hero. In the first of many serial-like escapes, Indy eludes Belloq by hopping into a convenient plane. So, then: is Indiana Jones afraid of anything? Yes, snakes. The next time we see Jones, he's a soft-spoken, bespectacled professor. He is then summoned from his ivy-covered environs by Marcus Brody (Denholm Elliott) to find the long-lost Ark of the Covenant. The Nazis, it seems, are already searching for the Ark, which the mystical-minded Hitler hopes to use to make his stormtroopers invincible. But to find the Ark, Indy must first secure a medallion kept under the protection of Indy's old friend Abner Ravenwood, whose daughter, Marion (Karen Allen), evidently has a "history" with Jones. Whatever their personal differences, Indy and Marion become partners in one action-packed adventure after another, ranging from wandering the snake pits of the Well of Souls to surviving the pyrotechnic unearthing of the sacred Ark. A joint project of Hollywood prodigies George Lucas and Steven Spielberg, with a script co-written by Lawrence Kasdan and Philip Kaufman, among others, Raiders of the Lost Ark is not so much a movie as a 115-minute thrill ride. Costing 22 million dollars (nearly three times the original estimate), Raiders of the Lost Ark reaped 200 million dollars during its first run. It was followed by Indiana Jones and the Temple of Doom (1985) and Indiana Jones and the Last Crusade (1989), as well as a short-lived TV-series "prequel." ~ Hal Erickson, Rovi

Beggarman, Thief is the 4-hour sequel to the ratings-busting miniseries Rich Man, Poor Man; both productions were based on the works of novelist Irwin Shaw. For the purposes of the sequel, a new member of the Jordache clan is introduced: filmmaker Gretchen Jordache Burke, played by Jean Simmons. It is Gretchen's task to keep the family together after the murder of her brother Tom (played by Nick Nolte in Rich Man, Poor Man) and the recent disappearance of her other brother Rudy (Peter Strauss, re-creating his RMPM role). Originally presented in two parts, Beggarman, Thief was first telecast November 26 and 27, 1979. ~ Hal Erickson, Rovi

The longest (26-1/2 hours), most expensive ($25 million) and most complicated (four directors, five producers, five cinematographers, almost 100 speaking parts, several hundred extras) project made for television up to that time, Centennial was shown in two- and three-hour installments over a period of four months. An adaptation of James Michener's best-selling novel, it told the story of the settling of the American West by looking at the founding of the fictional town of Centennial, Colorado, from the settling of the area in the late 18th century to the present. Emmy-nominated for film editing and art direction, it boasts of sterling performances from Richard Chamberlain as frontiersman Alexander McKeag, Robert Conrad as the French-Canadian trapper Pasquinel, and a surprisingly powerful performance from former football star Alex Karras as compassionate but iron-willed immigrant farmer Hans Brumbaugh. ~ Brian Gusse, Rovi

Stretching the Airport concept as far as it will go, this third film in the series sticks a jet full of old actors 50 feet underwater in the Bermuda Triangle. Oxygen (and credibility) grows short, and Jimmy Stewart plays an art collector targeted for a heist. Jack Lemmon is the unfortunate pilot, and Christopher Lee shows up along with Brenda Vaccaro, Joseph Cotten, and Olivia de Havilland. Jerry Jameson, auteur of The Bat People, was selected to helm this entry featuring that film's star, Michael Pataki. George Kennedy, the only man to appear in all four Airport films, is along for the ride as well. ~ Robert Firsching, Rovi

This courtroom drama was originally the pilot for the TV series McNaughton's Daughter and centers upon two attorneys, a father and his daughter, as they try a philanthropist charged with murder. ~ Sandra Brennan, Rovi

In this spooky horror movie, a crazed doctor is able to transform a man into a giant cobra. ~ Sandra Brennan, Rovi

The City was the pilot film for the brief Anthony Quinn TV series Man and the City. Quinn joined such movie luminaries as Jimmy Stewart and Shirley MacLaine in migrating to the small screen for the 1971-72 season--unsuccessfully, as it turned out. He portrays Thomas Jefferson Alcala, the progressive mayor of an unspecified Southwestern city (the film was shot in Albuquerque). Future MASH regular Mike Farrell is also on hand as Mayor Alcala's conservative aide. The City finds Hizzoner tackling urban problems, a theme carried over to the Man and the City series itself. ~ Hal Erickson, Rovi

MGM's Invitation to the Dance was the fruition of Gene Kelly's long-standing dream to create a plotless "concert" feature. Eschewing dialogue, Kelly tells three stories entirely through the medium of dance. The first sequence is a mime-like Pagliacci story, with Kelly as the Clown and Igor Youskevitch and Claire Sombert as the Lovers. The second vignette, "Ring Around the Rosy," tells the story of a bracelet as it is passed from owner to owner. The best is saved till last: "Sinbad the Sailor," wherein Kelly shares screen time with a plethora of animated cartoon characters, courtesy of MGM house cartoonists William Hanna and Joe Barbera. Carol Haney appears briefly as Scheherezade, and also posed for the writhing cartoon serpent. Considered totally unsellable by the MGM higher-ups, Invitation to the Dance was shelved upon its completion in 1952, and didn't see the light of day for nearly four years. ~ Hal Erickson, Rovi

The Hour of 13 is a leisurely remake of the 1934 thriller The Mystery of Mr. X. The year is 1890: London is being plagued by a series of murders. The victims are all policemen, and the killer seems to be operating in a deliberate pattern. Suave jewel thief Nicholas Revel (Peter Lawford) is compelled to seek out the killer, lest he himself be accused of murder by his friendly enemy, Inspector Connor (Roland Culver). Filmed at MGM's British facilities, The Hour of 13 makes excellent use of several topnotch English supporting actors, including Dawn Addams, Derek Bond, Leslie Dwyer, Michael Hordern, and Colin Gordon. The original Mystery of Mr. X made the tactical blunder of revealing the killer's identity in the opening credits; happily, Hour of 13 does not repeat this error. ~ Hal Erickson, Rovi