Isabelle Cooley Movies

A spoiled rich girl leaves her pop's protection and gets a job in an L.A. bar where she meets and falls for an unknown musician. She's out to prove to daddy, that she can cut it on her own. ~ All Movie Guide

A brilliant black UCLA student who has managed to rise above his street-gang origins is murdered in a drive-by shooting--not in his old 'hood, but in fashionable Westwood. At first, it appears that the killing was gang-related, perhaps an act of vengeance. But as Hunter (Fred Dryer) delves into the case, he uncovers a sinister investment scheme involving the dead student's white roommate. ~ Hal Erickson, All Movie Guide

It is difficult to believe that this wretched sequel was Monte Hellman's first American film since Cockfighter (1974), and even more difficult to believe that it is the work of the man behind cult classics like Two-Lane Blacktop, The Shooting, and Back Door to Hell. The grown-up Ricky (Bill Moseley from The Texas Chainsaw Massacre 2) comes out of the coma in which he ended the last film and goes on another murderous Christmas Eve rampage despite the fact that his brain is exposed under a glass dome after reconstructive surgery. There's a confused subplot about a doctor (Richard Beymer from Twin Peaks) investigating the dreams of a blind psychic girl (Samantha Scully), whose visions have something to do with Ricky's past. The glass-plated killer shows up at the girl's house, pursued by the doctor and a grumpy policeman played by Robert Culp, for the final standoff. The cast includes Eric Da Re, Elizabeth Hoffman, and Leonard Mann, there are flashbacks to part two (which consisted mostly of flashbacks to begin with), and obligatory in-jokes like several scenes from 1963's The Terror (which Hellman co-directed), and an homage to the original Carnival of Souls. There are some interesting camera angles, and one envisions Hellman thinking he was doing something different with the series, but the script and acting are terrible and Ricky's story had pretty much run its course anyway. The next sequel was a completely unrelated gorefest from Brian Yuzna (Society), whose unique vision -- if roundly rejected by series fans -- was at least a change of pace. ~ Robert Firsching, All Movie Guide

Martha Coolidge directed this comedy taking place at fictional Pacific Tech, concerning incoming freshman Mitch (Gabe Jarret), a high school student whose Science Fair project made important inroads into laser beam technology. Mitch has been recruited by famed physics professor Hathaway (William Atherton), who asks Mitch to work in his laboratory. On campus, Mitch becomes roommates with the brilliant Chris Knight (Val Kilmer), legendary as the smartest freshman in the history of the college; but now, as a senior, he is less interested in his studies and more interested in having fun. It turns out that Hathaway is enlisting his students, unbeknownst to them, as a slave labor force to do research in developing a state-of-the-art laser device for the Defense Department (he uses his government grant funds to build a house). But Chris and Mitch begin to suspect that something is amiss with Hathaway's project. ~ Paul Brenner, All Movie Guide

Students at a college with obviously low graduation requirements spend their time and energy playing a game that involves mock assassinations with rubber-tipped darts fired from plastic guns. If you are shot, you are assassinated and out of the game and whoever remains alone at the end wins. When Gersh (Bruce Abbott), the odds-on favorite is about to do one of his opponents in, the hapless victim drops his dart gun, it misfires, and bonks a dart at Gersh - who is pushed over the edge, pulls out a real gun and kills his unfortunate opponent. Gersh drags the body to his room and stuffs it in his closet. Having killed once, the blood-thirsty student goes on a rampage, killing as many of these players as he can and stuffing them all in his closet. ~ Eleanor Mannikka, All Movie Guide

Neil Simon's bright, autobiographical romantic comedy, a big Broadway success, has been adapted to the screen in a screenplay by Simon, directed by Robert Moore, that subtly shifts the emphasis from the play. In the stage version, recently widowed writer George Schneider (James Caan) and his efforts to form a new relationship after years of marriage, was the crux of the story. The film, however, reduces George's role and, instead, emphasizes the character of Jennie MacLaine (Marsha Mason), the actress being wooed by George. ~ Paul Brenner, All Movie Guide

Uptight is an updated remake of John Ford's The Informer (35). The Irish Republican rebels of the original are replaced by black activists, Dublin becomes the Cleveland ghetto, and "the troubles" of 1921 are transformed into the days just following the assassination of Martin Luther King. Julian Mayfield plays an itinerant street sweeper who betrays his militant friends to the fuzz, resulting in an underground all-points bulletin to exact vengeance on the squealer. Ruby Dee portrays a prostitute who befriends the snitch as he eludes his revolutionary ex-buddies. Jules Dassin's unrelenting directorial pace is complemented by the driving jazz score of Booker T. Jones. ~ Hal Erickson, All Movie Guide

In 1963, this colossal and opulent $60 million spectacular was epic in every sense of the word -- an epic investment, an epic in the annals of Hollywood gossip, and, ultimately, an epic flop that nearly dragged 20th Century Fox down the Nile along with Cleopatra's barge. Handsomely mounted by Joseph L. Mankiewicz, who replaced Rouben Mamoulian as director after six days of shooting), the drama follows the eighteen tumultuous years that led to the founding of the Roman Empire. Cleopatra (Elizabeth Taylor) meets up with Julius Caesar (Rex Harrison) and plans to lure Caesar to her boudoir in order to forge an alliance with Rome so that she may hold on to her Egyptian empire. When Caesar is stabbed to death in the Roman Senate, Cleopatra is left without an ally, and Egypt is up for grabs. When Roman general Mark Antony (Richard Burton) comes along, she seduces him in order to make him over into her new protector. But, under the charms of Cleopatra, Mark Antony is reduced from a an awesome and dominating general to a sniveling, drunken wimp. At the Battle of Actium, Mark Antony is defeated and Cleopatra withdraws her troops, dooming Mark Antony and his army. With Egypt in peril, Antony and Cleopatra, the doomed lovers, meet each other for the last time, as the enemy forces close in. ~ Paul Brenner, All Movie Guide

Playwright Philip Yordan stirred up controversy with his 1944 Broadway production Anna Lucasta, the sexy saga of a family of avaricious African-Americans. Such was the notoriety of the play that Columbia Pictures couldn't resist optioning it for a film version. Since this was 1949, Columbia took into consideration both censors and intolerant filmgoers by toning down the play's eroticism and transforming the characters into Polish-Americans. The 1958 Anna Lucasta was filmed in more temperate times, thus the leading characters were once again non-Caucasians. Eartha Kitt stars as waterfront prostitute Anna Lucasta, called back home by her greedy brother-in-law (Frederick O'Neal) to be married off to a moderately wealthy young man (Henry Scott). Anna spoils the brother-in-law's plans by falling in love with the young fellow and seeing to it that no one gets their mitts on his money. A visitor from Anna's past (Sammy Davis Jr.) nearly wrecks the marriage, but Anna is forgiven by her husband and allowed a chance for a new life. ~ Hal Erickson, All Movie Guide

Conceived as a Gone With the Wind for the CinemaScope generation, Raintree County wasn't quite as successful as its role model, but it still proved a moneyspinner for MGM. Elizabeth Taylor stars as a spoiled Southern belle who falls in love with pacifistic Indiana youth Montgomery Clift. Though Clift is engaged to Eva Marie Saint, what Taylor wants, Taylor gets, and she isn't above using the dirtiest of deceptions to win Clift's affections. When the Civil War break out, Clift, a staunch abolitionist, joins the Union, much to the dismay of true-to-Dixie Taylor. While Clift is off fighting the war, Taylor descends into a depression that deepens into insanity. At war's end, Clift tries to come to terms with Taylor's lunacy for the sake of their child. But the strain proves too much for both of them, leading to an operatic climax which curiously segues into a happy ending (happy for some of the characters, anyway). If Montgomery Clift's performance--and appearance--seems to fluctuate wildly throughout the film, it is because he was involved in a serious auto accident during shooting, one that left both physical and emotional scars from which he never completely recovered. The 187-minute Raintree Country (reduced to 168 minutes after its initial roadshow engagements) was adapted by Millard Kaufman from the best-selling novel by Ross Lockridge, Jr. (whose own life story was infinitely more tragic than anything in his book). ~ Hal Erickson, All Movie Guide