Jana Bellan Movies

In this blaxploitation actioner from cult filmmaker Al Adamson, Timothy Brown plays a Las Vegas detective named "Kicks" Carter. He must foil a gang of criminals dealing arms to Central America and save some gambling addicts who are forced to pay off their debts as prostitutes in a hotel for women. Russ Tamblyn is featured as a vicious thug, Adamson's wife Regina Carrol sings in a nightclub, and there's a vile gang-rape scene. Gary Graver provided the cinematography, which often catches unpleasant real-life details such as toenail clippings on the floor of the hotel. Only genre completists are likely to find much to enjoy, but there are some wonderfully campy moments of unintentional hilarity among the sleaze. Brown had also appeared in Adamson's Dynamite Brothers, while co-star Tanya Boyd was in Greydon Clark's laughable Black Shampoo. ~ Robert Firsching, All Movie Guide

A proud old Southern woman struggles to keep her popular diner afloat in this interesting character study. The little cafe is a popular community meeting place and its closing would create a great hole in the town. Though her devoted daughters assist, their help is not enough. Unfortunately, the woman refuses to ask for outside help. In desperation, the woman decides that she needs herself a "sugar daddy," and so heads for Miami. There she meets all kinds of men, ranging from a mental patient to a wealthy but married Texan. Unfortunately, she cannot raise the money she needs. Somehow, the money is raised at the last moment and her restaurant is finally saved. ~ Sandra Brennan, All Movie Guide

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, All Movie Guide