Kenny Davis Movies

When a single mother comes in to help take care of a man's ill wife, he becomes interested in her for more than the care she is rendering. ~ Tana Hobart, All Movie Guide

First telecast October 21, 1990 on the Disney Channel cable service, Back to Hannibal: The Return of Huckleberry Finn is set 20 years after the Mark Twain novel. Tom Sawyer (Mitchell Anderson) is now a budding lawyer, while Huck Finn (Raphael Sbarge) is a reporter. They descend upon their old home town of Hannibal when their friend, ex-slave Jim Watson (Paul Winfield), is accused of murdering the husband of Tom's childhood sweetheart Becky Thatcher (Megan Follows). Roy Johansen's script even manages to haul in the King and the Duke (Joe Bova, Ned Beatty) from Huckleberry Finn. It's rather pointless, but it goes down easily enough. But, say: doesn't Back to Hannibal smell like a TV series pilot to you? ~ Hal Erickson, All Movie Guide

Jessica (Angela Lansbury) is among the guests enjoying a skiing vacation at a mountain lodge. At least, she and the other guests were enjoying the vacation until they were all trapped in the lodge by a sudden blizzard. Among the others are a jealous husband, an outraged wife, a long-suffering agent and an abrasive champion skier. Before long, one of these characters is going to be murdered, and Jessica will try to figure out the killer's identity before he (or she) can strike again. ~ Hal Erickson, All Movie Guide

The year is 1978: 12-year-old Joey Cramer, playing in the woods near his home, is knocked unconscious. He awakens and heads home, only to find strangers living there. He also finds that the year is 1986, and that he's been officially missing for eight years. NASA officials determine that Cramer was abducted by aliens during his blackout, and hope to scan the boy's brain in order to unlock a few secrets of the universe. Answering the call of a strange, unseen force, Cramer boards a well-hidden spaceship and takes off, guided by the jocular voice of a computer named MAX (voiced by none other than Paul Reubens, aka Pee-wee Herman). Realizing that he can't fit into 1986 so long as he's a child of the seventies, Cramer hopes to retrace the steps of his alien abductors and get back to his own time. ~ Hal Erickson, All Movie Guide

In an adolescent softcore story with a plot that is hardly credible, a young teen (Lance Sloane) has taken a bet that he can seduce the daughter of the town's minister in less than seven days. Once that premise is established, sexual encounters and low-level erotica follows with an understanding female (Sylvia Kristel). Character development is not of the essence here, and neither is the troubled, insecure woman who is the target of the bet. ~ Eleanor Mannikka, All Movie Guide

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarty), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s. ~ Lucia Bozzola, All Movie Guide