Don Pedro Colley Movies

Cult director Larry Cohen (It's Alive) directed this violent blaxploitation film. Nasty racist John McKinney cripples a black shoeshine boy, who grows up to be Tommy Gibbs (Fred Williamson), the Godfather of Harlem. The crimelord now has his tormentor McKinney (Art Lund) in his pocket, based on the cop's mob ties. Tommy's traitorous girlfriend Helen (Gloria Hendry) hands over the evidence, and McKinney moves in for the kill. But he may have underestimated the violent Tommy, who makes him shine his shoes in blackface while singing "Mammy." Rick Baker provided makeup effects, and James Brown did the music for this bloody oddity, followed the same year by Hell Up in Harlem. Cohen and Williamson got together 23 years later for an interesting (if unsuccessful) attempt at reviving the genre, Original Gangstas. ~ Robert Firsching, All Movie Guide

No one in the police department seems to care too much when call girl Wanda Bolen (Tisha Sterling) turns up murdered. All this changes when Chief Ironside meets and befriends the girl's elderly, grief-stricken father (Titos Vandis). Making it his personal crusade to bring Wanda's killer to justice, the Chief must forge a temporary truce with the pimps and hookers who may be able to provide him with the necessary leads. This episode features an orginal song by Marty and David Paich, "Money Girl", sung by Carol Carmichael). ~ Hal Erickson, All Movie Guide

Steve Franken, best known to baby-boomers as the snotty Chatsworth Osborne Jr. on the old Dobie Gillis TV series, is here cast in a straight role as "The Ferret", a pro-environmental terrorist. Targetting manufacturers whom he regards as shameless polluters, the Ferret specializes in giving these "offenders" a taste of their own medicine, usually in a messy or violent fashion. It is up to Officers Reed (Kent McCord) and Malloy (Martin Milner) to locate and stop the Ferret before he ends up killing somebody. ~ Hal Erickson, All Movie Guide

Based on his award-winning student short, George Lucas's debut feature cerebrally celebrates the possibility for individual freedom against all odds. In a 1984-esque white-washed future underground dystopia where sexuality is banned, all humans sport shaved heads and the same shapeless outfits as they go about their work in a mandated state of sedation, listening to exhortations to "Buy and Be Happy." Black-clad robot cops chant a mantra to their victims that "everything will be all right" and automated confessional booths emit soothing therapeutic bromides. But unbeknownst to THX 1138 (Robert Duvall), his roommate LUH 3417 (Maggie McOmie) has been reducing their meds, resulting in their mutual discovery of love and THX's subsequent imprisonment for drug evasion and sexual misconduct. Determined to find the pregnant LUH, THX breaks out of prison with the help of his cellmate SEN 5241 (Donald Pleasence) and an escaped TV hologram (Don Pedro Colley). With fugitive pursuits strictly budgeted, THX only has to evade the robocops until the funds run out, but surveillance is omnipresent and THX's vehicle keeps overheating. Making the only film produced through the first incarnation of Francis Ford Coppola's independent studio American Zoetrope, Lucas and his small crew, including co-writer and sound editor Walter Murch, shot THX 1138 in northern California with no interference from distributor Warner Bros. When Warners saw the austere result, however, they recut the film before its release. Neither the studio's nor Lucas's cut was a popular success, but THX 1138's coolly minimalist style and story-telling gained fans on the college screening circuit, just as Stanley Kubrick's poetic 2001: A Space Odyssey had attracted a large youth audience in 1968. When Lucas returned to sci-fi after American Graffiti, he traded restraint for nostalgic fun in the film that guaranteed his creative freedom in Hollywood: Star Wars. ~ Lucia Bozzola, All Movie Guide