Bobby Di Cicco Movies

Iconoclastic film director Samuel Fuller spent decades nurturing his dream project, a movie about his experiences in the Army's First Infantry Division during World War II, but it wasn't until 1979 that he was able to finally bring the picture before the cameras. Unfortunately, Fuller was forced by his producers to work with a scaled-down budget, and he did not have final cut on the film; after his first rough cut ran nearly four-and-a-half hours, the studio took over editing on the project, and Fuller was vocally unhappy with the final results. In 2003, critic and film historian Richard Schickel initiated an effort to restore The Big Red One to a form that more closely resembled Fuller's original vision; using a large cache of newly discovered footage and the director's shooting script as a guide, the 113-minute theatrical version was expanded to 158 minutes, adding depth and detail to Fuller's sweeping and episodic tale of a hard-as-nails sergeant (Lee Marvin) and four inexperienced recruits under his command (Mark Hamill, Robert Carradine, Bobby Di Cicco, and Kelly Ward) as they battle their way across Africa to Europe between 1942 and 1945. Schickel's reconstruction received enthusiastic reviews when it went into limited release in the fall of 2004. ~ Mark Deming, Rovi

In this suspense thriller, Albert (John Savage) is a psychopath who, after brutally murdering a woman, becomes obsessed with her 11-year-old daughter Annie. Twenty-one years after being sent to prison for his crimes, Albert is freed over the strenuous objections of Dr. Sachs (John Saxon), the psychiatrist who has been overseeing Albert's case all these years. Sachs is convinced that Albert is still a very real threat to the community, and it turns out that he's right; desperate to find Annie, but not knowing what surname she uses today, Albert begins contacting every Annie he can find in the phone book, leaving a bloody trail of murdered women in his path when they turn out not to be the little girl he's looking for. The supporting cast includes Bobby DiCicco, Hank Cheyne, Hyapatia Lee, and Beverley Mitchell as Annie. ~ Mark Deming, Rovi

For this third sequel to Charles Band's pointless but modestly successful Gremlins rip-off, the writers ignored the previous two installments and brought back the character of Jonathan Graves (Peter Liapis) from the original film, though inexplicably transforming him from a naïve dropout occultist to a streetwise cop. He is forced to do battle with his former girlfriend Alexandra (Stacie Randall), who has escaped from an asylum and is busily conducting human sacrifices in order to summon a demon once created by Jonathan's Satanic dabblings. The title creeps are shoved even further to the background than the previous chapters -- not a bad thing, really, since the effects department still hasn't managed to make them look like anything but inarticulate latex puppets covered in goo. Sadly, what's left is a tired cop-vs.-serial-killer scenario that's even less convincing than the monsters themselves. Z-movie journeyman (and Roger Corman favorite) Jim Wynorski injects the usual dose of titillation and B-movie in-jokes, with the expected results. ~ Cavett Binion, Rovi

Though we didn't see it acknowledged in the opening credits, Baby Doll Murders is a reworking of the 1964 Victor Buono vehicle The Strangler. There's a killer on the loose, preying upon beautiful young women. At the scene of each crime, the police find a damaged baby doll. Detective Jeff Kober detects a subtle pattern emerging. Alas, it leads to the inescapable conclusion that the next victim will be the wife of Kober's partner. Expectedly exploitational, Baby Doll Murders is not bad of its kind. ~ Hal Erickson, Rovi

A young mens' hazing turns to murder in this crime drama set in a small town run by a powerful businessman. The victim was beaten to death with a monogrammed baseball bat, and later the head-killer tried to make it seem as if the young man was run down by the car of Frank Govers, a traveling salesman. Sheriff Ralph Baker begins investigating and finds his hands figuratively tied at every turn by the town fathers, particularly the powerful Will Curran. Baker does believe that Govers was framed, but the salesman, who has his own dubious past to protect takes off and ends up hiding out in the cabin of a teen-age wife whose husband has left her. Meanwhile Sheriff Baker arrests Will Curran's son Don, the guilty party in the murder. Back at the cabin, two fugitives from prison burst into the cabin and take the hapless salesman hostage. Things look pretty bleak at this point until Curran breaks his son out of jail and heads for the hills to cut a deal with the escaped convicts. ~ Sandra Brennan, Rovi

In this film, a bereaved man wants to exact his revenge from the bank robber who was responsible for his wife's untimely death. ~ Iotis Erlewine, Rovi

The A-Team brings its five-season run to a rousing conclusion as Face (Dirk Benedict) and Frank (Eddie Velez) pay a visit to a surprisingly "sane" Murdock (Dwight Schultz), now working as a waiter in an Italian restaurant. Unfortunately, the three A-Teamers are held hostage, along with the restaurant's owner and his daughter, by mobsters who intend to murder Attorney General Liebster (Chuck Walling). Sneaking out a message written in anchovies on a pizza delivery, Murdock manages to alert Hannibal (George Peppard) and B.A. (Mr. T) to his plight. The climax is a riotous free-for-all, with guns blazing and fists flying--resulting in a near-fatality for one of the Team members! (If the opening of this episode looks familiar, that's because it was lifted virtually in toto from the first-season A-Team entry "Holiday in the Hills".) ~ Hal Erickson, Rovi

Detective Berzak (Robert Carradine) and his suave partner Hazeltine (Billy Dee Williams) combine forces to track down a notorious drug lord in this routine action feature. Captain Ferris (Peter Graves) monitors the progress of the decidedly different detectives. The trail leads to Dacosta (Barry Sattels) a respected member of the social elite and the community. Valerie Bertanelli plays Berzak's daughter Teresa, who is pumped for information by her father about his ex-wife (Doris Roberts). ~ Dan Pavlides, Rovi

Few men in the publishing industry have more enemies than Christopher Bundy (Bert Convy), who has converted a once respectable magazine into a lurid tabloid specializing in tell-all exposes and pictures of nude women. Jessica (Angela Lansbury) angrily shows up at Bundy's Connecticut headquarters to protest his plans to reprint her first murder story in his magazine. Inevitably, Bundy is murdered, and Jessica's old friend Chester Harrison (Robert Stack) is accused of the crime--but Harrison is only one of several people whose closeted skeletons had been exposed by the ruthless Mr. Bundy. ~ Hal Erickson, Rovi

"I'm in love with a mermaid!" read the opening line of Leonard Maltin's original review for Splash. And with the delightful Darryl Hannah in the lead, who could fault Maltin for his public declaration of ardor? The story begins in 1959, when a young boy is rescued from a watery grave by an adolescent mermaid. Twenty-five years later, the boy has grown up--and lo and behold, it's Tom Hanks. Meanwhile, the mermaid, likewise grown up, has surfaced in search of Hanks, her long-lost love. On dry land, the mermaid is able to walk about on legs; any contact with salt water, and she reverts to her half-fish form. Adopting the name of Madison from a New York street sign, the girl manages to win Hanks' heart. Alas, a secret government lab, populated by such smarmy types as Richard B. Shull and Eugene Levy, captures Madison for research purposes--and possible vivisection. Egged on by his brother John Candy, Hanks rescues his beloved, joining her in the ocean depths as a mer-man (mer-fellow? mer-guy?) A captivating confection from the peerless creative team of director Ron Howard and screenwriters Lowell Ganz and Babaloo Mandel, Splash was a winner all the way--especially at the box office, where the $11 million film racked up a huge profit. Historical sidebar: Splash was the first release from Disney's Touchstone Pictures division. ~ Hal Erickson, Rovi

Sam Fuller (1911-1997) directed this rather mediocre crime story about a Bonnie-and-Clyde couple -- how they got together and how they are pursued for a murder they never committed. François (Bobby Di Cicco) and Isabelle (Veronique Jannot) meet in an unemployment office, a likely place to find others in their profession: he is a cellist and she, an art historian. While there, Isabelle gets into a nasty incident with one of the clerks, and François helps her out of the office with the end result that the two continue meeting and eventually fall in love. They try to make money as street musicians, though nothing seems to work out. Isabelle then suggests they rob the three unemployment office personnel who were the most obnoxious to them, a suggestion that leads to their breaking into an apartment in which the occupant accidentally falls to his death. At first both Isabelle and the police believe she pushed the man out the window -- and the chase is on. ~ Eleanor Mannikka, Rovi

Straight-laced Henry Winkler takes a night-shift job as a morgue attendant. Winkler falls under the spell of wheeler-dealer coworker Michael Keaton, whose catchphrase "Is this a great country or what?" is the clarion call for his many get-rich-quick schemes. His latest plan is to turn the morgue into a nocturnal brothel, for the benefit of anything-goes hooker Shelley Long-and incidentally, to line their own pockets. Director Ron Howard and his frequent scripters Lowell Ganz and Babaloo Mandel turn the potentially lurid story material of Night Shift into an endearing comedy, with winning performances from its three often miscast stars. Keep an eye out during one of the party sequences for Kevin Costner as a carousing college boy. ~ Hal Erickson, Rovi

Samuel Fuller's valedictory war picture, The Big Red One follows the First Infantry Division from Africa to Europe during the years 1942 through 1945. Lee Marvin portrays the division sergeant; he's tough and experienced, to be sure, but he takes on his job with cool professionalism rather than Hollywood bravado. Based on Fuller's own experiences, the film is a loosely constructed series of anecdotes. Among them are an insane asylum under bombardment while the inmates applaud and a climactic vignette in which a very young concentration camp internee dies while a friendly soldier plays piggy-back with the boy. ~ Hal Erickson, Rovi