Lou Tiano Movies

"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

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, Rovi

In this classic episode, Alice (Linda Lavin) is willing to make a profound sacrifice to cure Mel (Vic Tayback) of his gambling habit. A deal is struck: if Mel will give up his favorite vice, all the other diner workers will do likewise for 48 hours. This proves difficult when Alice's yen for chocolate, Flo's (Polly Holliday) desire for coffee and Vera's (Beth Howland) craving for tobacco get the better of them, culminating in a wild game of "gotcha" in Alice's apartment. ~ Hal Erickson, Rovi

In this first episode of Baretta, gonzo undercover cop Tony Baretta sets up a phony numbers bank to trap prominent mobster Frank Cassell (Joseph Mascolo). In his off hours, Baretta romantically pursues the lovely Sharon Fowler (Madlyn Rhue), whom he wants to marry despite her protests that living together is the way to go. Tragically, their relationship is literally terminated when Sharon is killed by Cassell's hired thugs. Throwing "police procedure" in the wastebasket, the grieving Baretta vows to take his own personal revenge against Cassell. ~ Hal Erickson, Rovi

The terror begins when dewey-eyed Peggy O'Malley (Lynne Marta) enters the United States after a flight from Canada, her leg encased in a plaster cast. But Peggy has not broken or even sprained anything: she is using the phony cast to smuggle a 20-dollar plate, stolen from the Canadian mint, past US customs. All the while, the hapless girl is pursued by the man who killed her boyfriend, and who will leave a trail of death in his wake while tracking her down. By the time Kojak (Telly Savalas) picks up the villain's trail, a doltish innocent bystander (Chuck McCann) has been swept up in the intrigue. ~ Hal Erickson, Rovi