Stan Ross Movies

This is the true story of Rocky Dennis (Eric Stoltz), a personable young man suffering from "lionitis," a fatal disease which causes hideous facial disfigurement. The son of freewheeling biker Rusty Dennis (Cher), Rocky is accepted without question by his mom's boyfriends and cycle buddies, but treated with pity, condescension, and disgust by much of the outside world. The local high school principal tries to get Rocky classified as brain-damaged so he won't have to enroll the boy in his school, but Rusty fights for her son's rights with the ferocity of a mother lioness. Rocky makes friends easily both at school and at summer camp. He also falls in love with Diana (Laura Dern), a blind girl who cannot see his deformed countenance and is entranced by the boy's kindness and compassion. Now that he's got his own life in order, Rocky sets about to wean his chronically depressed mother from her drug habit. Mask is the sort of story that might have ending up wallowing in its own pathos had the acting, direction and scriptwriting (by Anna Hamilton Phelan) been anything less than very good. The film proved a much-needed financial success for director Peter Bogdanovich, though unfortunately it didn't come soon enough to stave off his declaring personal bankruptcy. ~ Hal Erickson, Rovi

Tim Conway and Don Knotts play two bumbling Scotland Yard investigators out to solve a double murder in this silly send-up of vintage, "old dark house" films. The intrepid Winship (Knotts) and his assistant Tart (Conway) arrive at a Gothic mansion occupied by the grieving heiress Phyllis (Tricia Noble), whose parents have just perished under suspicious circumstances. Meanwhile, a quirky crew of servants ranging from a butler with serious rage issues to a samurai warrior cook and busty maid with a bubbly personality all display likely motives for murder. As a mysterious, black-cloaked killer methodically dispatches with the help, the inept investigators search for clues while being watched by paintings with moving eyes, exploring a frightful a torture chamber, and attempting to communicate with their superiors at Scotland Yard via carrier pigeons who never seem to reach their intended destination. ~ Jason Buchanan, Rovi

This is a crazy horror-film spoof in which the enthusiastic leads provide laughs just by the strength of their characterizations alone -- and because they are obviously having fun. Oliver Reed is Dr. Heckyl whose lumpy face is so ugly it has kept women away in droves. He works at a podiatrist's clinic and one day attempts suicide by quaffing a whole bottle of a weight-loss elixir. The result? Dr. Heckyl becomes Mr. Hype, the suave ladies man. The only problem is that Mr. Hype is evil incarnate, his urge to kill is greater than any other urge, and so he remains as virginal as ever as he leaves a trail of victims behind. When he goes after the woman he has loved as Dr. Heckyl, serious confusion is in store -- she prefers the good-hearted beast over the rotten charmer. ~ Eleanor Mannikka, Rovi

With Howard Hawks's Bringing Up Baby (1938) as his blueprint, Peter Bogdanovich resurrected and payed homage to 1930s screwball comedy in What's Up, Doc? (1972). When wacky co-ed Judy Maxwell (Barbra Streisand, in the Katharine Hepburn part) spies nebbishy musicologist Howard Bannister (Ryan O'Neal in bespectacled Cary Grant mode) in a San Francisco hotel lobby, she decides that Howard and his precious igneous rocks are right up her alley. Too bad Howard already has a fiancée, the propriety-fixated Eunice (Madeline Kahn in her film debut). Using all her arcane knowledge from brief stays at numerous colleges, Judy tries to charm her way to a $20,000 grant for Howard, and Howard himself, at a banquet with grantor Frederick Larrabee (Austin Pendleton). Things get even more complicated the next day when Judy's underwear-filled overnight bag gets mixed up with Howard's rock bag, which gets mixed up with Mrs. Van Hoskins' bag of jewels, which gets mixed up with Mr. Smith's bag of top secret government papers. All sides converge at Larrabee's mod townhouse and the chase begins. Retaining Hawks' machine-gun pace (as well as the sly pop culture referentiality of Billy Wilder), Bogdanovich and writers Buck Henry, David Newman, and Robert Benton updated the opposites-attract screwball convention for contemporary times. O'Neal gently parodied not only Grant but also his own Love Story (1970) preppy, while Kahn represents stiff-wigged 1950s manners as opposed to Streisand's long-haired, pants-wearing free spirit. The happy ending, in which Cole Porter-belting youth wins out over old manners, found favor with audiences, as What's Up, Doc? became one of the most popular films of 1972, and the second hit in a row for Bogdanovich after 1971's The Last Picture Show. ~ Lucia Bozzola, Rovi

After nearly a decade as one of America's most successful independent filmmakers, legendary sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." Kelly McNamara (Dolly Read), Casey Anderson (Cynthia Myers), and Petronella Danforth (Marcia McBroom) are the three members of an all-girl rock band called "the Kelly Affair" who pull up stakes for Hollywood in search of stardom; they're accompanied by their manager, Harris Allsworth (David Gurian), who also happens to be Kelly's boyfriend. Kelly has an aunt in Hollywood, fashion mogul Susan Lake (Phyllis Davis), who takes Kelly under her wing and informs her she's entitled to a share of a recent family inheritance, much to the chagrin of Susan's lawyer, the shifty Porter Hall (Duncan McLeod). Susan arranges for Kelly and her bandmates to attend a wild party thrown by Ronnie "Z-Man" Barzell (John La Zar), a flamboyant and very successful record producer; Z-Man renames the band "the Carrie Nations," signs them to a record deal, and they're one of the biggest acts in America practically overnight. However, Harris is pushed out of the picture as the band's manager by Z-Man, and as Kelly's boyfriend by actor and gigolo Lance Rocke (Michael Blodgett), sending Harris into a deep depression even after he becomes the new boy-toy of adult film star Ashley St. Ives (Edy Williams). Meanwhile, Petronella finds love with law student Emerson Thorne (Harrison Page) until her head is turned by heavyweight boxing champion Randy Black (Jim Iglehart), and Casey explores her sexual boundaries with Roxanne (Erica Gavin), a beautiful lesbian designer. This nonstop train of decadence, drugs, and betrayal finally comes off the rails during a drug-fueled orgy at Z-Man's mansion, which erupts into violence when the rock mogul's darkest secret is revealed. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future blaxploitation icon Pam Grier, Beyond the Valley of the Dolls proved to be Meyer's biggest box-office success, though after his next film (The Seven Minutes) bombed at the box office, he returned to independent production in 1973. ~ Mark Deming, Rovi

This sixth in the "Ma and Pa Kettle" series produced by Universal stars (as usual) Marjorie Main as Ma and Percy Kilbride as Pa. After a whirlwind international tour, the contest-winning rustics and their fifteen children return to their old farm. The eldest Kettle son (Brett Halsey) has a chance of winning a scholarship prize to a prestigious university, prompting the Kettles to try to impress a representative (Alan Mobray) of the magazine offering the scholarship. The magazine man is arrogant beyond belief, but a warm and fuzzy Christmas celebration humanizes the pompous visitor, so everything ends happily (after the expected slapstick finale, that is!) Considered the best of the "Kettle" series, Ma and Pa Kettle at Home is worth the admission price if only to hear the veddy British Alan Mobray say the word "Ma". ~ Hal Erickson, Rovi

In this musical, an orphan is under the false impression that her newly found relatives are filthy rich. Lacking the heart to tell her the truth, the relatives move into an abandoned mansion to entertain her and her fiance. Songs include: "That's Good Enough for Me", "A Man Is a Brother to a Mule", "Judy and Dick", and "Cheer for the Team". ~ Sandra Brennan, Rovi