Vic Ramos Movies

A drifter becomes both a bank robber and a hero in this crime thriller. Andrew McCarthy stars as Wade Corey, who hitches a ride on a freight train already occupied by Doyle Kennedy (Matt Dillon), a charming ex-con who convinces Wade to accompany him to his hometown. Once there, Wade realizes too late that Doyle is intent on robbing the local bank. After they are separated following the crime, Wade hides the money. Happening upon a drowning in progress, he saves a young girl who just happens to be the daughter of the state governor, and he becomes an unlikely hero. Finding work at a nearby farm, the meandering Wade becomes a hired hand, falls for the beautiful daughter (Leslie Hope) of his boss, and dreads the return of Doyle, who is sure to come looking for his money. ~ Karl Williams, All Movie Guide

In Thief, James Caan plays Frank, a professional jewel thief who wants to marry Jessie (Tuesday Weld) and settle down into a normal life. In order to achieve his dream of a family, Frank--who is used to working solo--has to align himself with a crime boss named Leo (Robert Prosky), who will help him gain the money he needs to begin his domestic life. Frank plans to retire after the heist, yet he finds himself indebted to Leo and he struggles to break free. Thief is the first feature film from director Michael Mann and it seethes with his stylish, atmospheric direction. Though his cool approach may put off some viewers, it's a distinctive and effective story-telling approach, and Caan's performance ranks among his very best, making Thief a crime movie like few others. ~ Stephen Thomas Erlewine, All Movie Guide

This 1980 version of the oft-filmed Henry Devere Stackpoole novel The Blue Lagoon was the first to be stamped with an "R" rating. The basic story remains unchanged. Two very small children, a boy and a girl, are shipwrecked on a lush tropical island. They are cared for by fellow castaway Leo McKern. When he dies, the kids, played with a minimum of clothing by Brooke Shields and Christopher Atkins, have no one but each other. When they grow into teen-hood, they also fall madly in love. Heavily reshaped and reedited before its release, The Blue Lagoon's principal attribute is the lush photography by Nestor Almendros. In 1990, a sequel was made, Return to the Blue Lagoon. ~ Hal Erickson, All Movie Guide

"Oh my God, that's my daughter." So read the advertising copy of Hardcore. George C. Scott plays Jake Van Dorn, a man of means and conservative values who discovers that his precious daughter is appearing in X-rated films. Desperately making his way through the sub-rosa world of pornography, Van Dorn talks to pimps, prostitutes, and other such sterling individuals in hopes of locating his daughter and dragging her home. At one point, he falsely advertises himself as a porn producer in hopes that his little girl will show up for an interview. ~ Hal Erickson, All Movie Guide

The protagonists of Over the Edge are the teen-aged offspring of the residents of a planned suburban community. This bland little town has been designed with conformity in mind, and with no thought of making the kids' lives worth living. Even worse, there is very little opportunity for any of the teens to grow "out" of the community and live elsewhere. Consequently, the kids rebel by drinking themselves sick, dealing in drugs, and indulging in deadly violence. Inasmuch as the local cops are predisposed to beat the teens into submission, the kids retaliate by directing their frustrations at the Law; the results are tragic, to be sure, but in no way predictable. Over the Edge struck as sensitive a nerve with young 1970s moviegoers as Rebel Without a Cause did with their 1950s forebears. Matt Dillon made his screen debut in Over the Edge, distinguishing himself in an ensemble cast that also includes Vincent Spano, Andy Romano and Ellen Geer. The screenplay was written by Charles Haas and Tim Hunter; the soundtrack songs feature the Ramones. ~ Hal Erickson, All Movie Guide

George Lucas' mythological popcorn movie is a two-hour roller-coaster ride that has passed into movie legend. The story, for the tiny number of people not familiar with it, concerns a farm boy named Luke Skywalker (Mark Hamill) who discovers that the used robot recently purchased by his family plays back a message from one Princess Leia (Carrie Fisher), begging for help from Obi-Wan Kenobi. Luke asks his father's friend Ben Kenobi (Alec Guinness) about this, and he discovers that Ben and Obi-Wan are one and the same. Kenobi tells Luke of the battle of the rebels against the ruling Empire and the spiritual energy called "The Force." Soon Luke, Kenobi, and a mercenary named Han Solo (Harrison Ford) join forces to rescue Princess Leia from the Empire's mammoth warship, the Death Star, controlled by evil genius Darth Vader (David Prowse, with the voice of James Earl Jones). George Lucas has frequently cited the influence of several films on Star Wars, particularly Akira Kurosawa's The Hidden Fortress and Yojimbo and John Ford's The Searchers, as well as the original Flash Gordon serials. After Star Wars became a success, Lucas announced his intention to turn the film into a series, originally totalling nine films (later pared back to six). Consequently, most reissue prints now feature the title Star Wars: Episode IV -- A New Hope, with The Empire Strikes Back (1980) and Return of the Jedi (1983) serving as Episodes Five and Six in the serial, and Star Wars: Episode I -- The Phantom Menace (1999) going back to the myth's beginnings. ~ Mark Deming, All Movie Guide

Here's the basic "shtick" of Bugsy Malone: it's a gangster picture enacted by children. Acted out before scaled-down sets, the film details the career of Bugsy Malone (Scott Baio), who rises to the top of the criminal ladder in 1920s New York. Whenever gunfire is called for, the kiddie crooks substitute whipped cream for bullets. Paul Williams contributes several songs, which are performed by adult singers and lip-synched by the pint-sized actors. The cast includes John Cassisi as diminutive Capone clone Fat Sam, and then-13-year-old Jodie Foster as the sultry nightclub thrush Tallulah. ~ Hal Erickson, All Movie Guide

Francis Ford Coppola's legendary continuation and sequel to his landmark 1972 film, The Godfather, parallels the young Vito Corleone's rise with his son Michael's spiritual fall, deepening The Godfather's depiction of the dark side of the American dream. In the early 1900s, the child Vito flees his Sicilian village for America after the local Mafia kills his family. Vito (Robert De Niro) struggles to make a living, legally or illegally, for his wife and growing brood in Little Italy, killing the local Black Hand Fanucci (Gastone Moschin) after he demands his customary cut of the tyro's business. With Fanucci gone, Vito's communal stature grows, but it is his family (past and present) who matters most to him -- a familial legacy then upended by Michael's (Al Pacino) business expansion in the 1950s. Now based in Lake Tahoe, Michael conspires to make inroads in Las Vegas and Havana pleasure industries by any means necessary. As he realizes that allies like Hyman Roth (Lee Strasberg) are trying to kill him, the increasingly paranoid Michael also discovers that his ambition has crippled his marriage to Kay (Diane Keaton) and turned his brother, Fredo (John Cazale), against him. Barely escaping a federal indictment, Michael turns his attention to dealing with his enemies, completing his own corruption. ~ Lucia Bozzola, All Movie Guide

Based on the best-selling novel by George V. Higgins, The Friends of Eddie Coyle chronicles the last days of a weary Boston-based weapons dealer. Eddie Coyle (Robert Mitchum) doesn't want to serve a life sentence in prison, so he becomes an informant for both the police and the treasury department. Coyle is likewise unwilling to give up his lifestyle, thus he continues his illegal gun-running operation for the underworld. The mob becomes aware that Eddie is squealing to the cops, so they send his best friend, Dillon (Peter Boyle), to rub him out. Dillon compassionately takes Eddie out on the town, treating him to dinner and a hockey game...then drives to a deserted field to carry out his orders. ~ Hal Erickson, All Movie Guide

Actor Alan Arkin has an impressive film directorial debut with Little Murders, Jules Feiffer's bitter and moving satire (originally produced as an off-Broadway play). Elliot Gould (who also co-produced the film) plays Alfred Chamberlain -- a one time successful photographer who is now down on his luck because he began to eliminate people from his photographs. He also suffers from an inability to feel or to be passionate about anything. But then Alfred meets Patsy Newqvist (Marcia Rodd), who takes it upon herself to mold Alfred into "a strong, vital, self-assured man, that I can protect and take care of." As their relationship develops and Patsy takes Alfred to meet her parents, they suddenly bang up against the brick wall of urban violence and insensitivity. In this world of senseless killings and madness, Alfred realizes that the only way to get back into the world is to become as insane as everyone else. ~ Paul Brenner, All Movie Guide

Director Carl Reiner, most closely associated with the homey values of situation comedies, shocked, surprised, and (in some cases) delighted his admirers with the jet-black comedy Where's Poppa?. George Segal plays Gordon Hocheiser, a New York attorney whose love life is constantly being sabotaged by his senile mother (Ruth Gordon), who constantly asks the question of the title. (She doesn't realize Poppa is dead). Every time Gordon has a prospective bride or lover lined up, Mrs. Hocheiser gums up the works with her insane behavior. The attorney at last finds a kindred spirit in the beautiful caregiver Louise Callan (Trish VanDevere), who has likewise been a victim of someone else's eccentricities (her first husband used the conjugal bed as his own personal toilet). When Mrs. Hocheiser chases Louise away like she has all the others, Gordon begins entertaining notions of killing his mother. In desperation, Gordon begs his brother Sidney (Ron Leibman) to take his mother off his hands, which leads to several comic vignettes in deliriously bad taste. The film's incest-themed original ending (trimmed from the video version but still included in cable prints) finds Gordon climbing into bed with Mrs. Hocheiser, only to be greeted with a "Here's Poppa." The celebrated "tush scene," wherein Mrs. Hocheiser bites Gordon on his bare backside while Louise looks on in horror, packed a real wallop back in the early '70s, as did a courtroom scene involving a disgruntled hippie (Rob Reiner) and a psychotic U.S. general who graphically describes his homicidal acts against the Vietnamese. Though Carl Reiner would continue to "push the envelope" in his later films (Steve Martin as a "poor black child"? George Burns as God?) he would never again attempt anything as risky as Where's Poppa?. ~ Hal Erickson, All Movie Guide

Based on a James Leo Herlihy novel, British director John Schlesinger's first American film dramatized the small hopes, dashed dreams, and unlikely friendship of two late '60s lost souls. Dreaming of an easy life as a fantasy cowboy stud, cheerful Texas rube Joe Buck (Jon Voight) heads to New York City to be a gigolo, but he quickly discovers that hustling isn't what he thought it would be after he winds up paying his first trick (Sylvia Miles). He gets swindled by gimpy tubercular grifter Rico "Ratso" Rizzo (Dustin Hoffman) but, when Joe falls in the direst of straits, Ratso takes Joe into his condemned apartment so that they can help each other survive. Things start to look up when Joe finally lands his first legit female customer (Brenda Vaccaro) at a Warhol-esque party; Ratso's health, however, fails. Joe turns a final trick to get the money for one selfless goal: taking Ratso out of New York to his dream life in Miami. One of the first major studio films given the newly minted X rating for its then-frank portrayal of New York decadence, Midnight Cowboy was critically praised for Schlesinger's insight into American lives, with the intercut mosaic of Joe's memories and Ratso's dreams lending their characters and actions greater psychological complexity. While they may have been drawn by the seamy content (tame by current standards), the young late '60s audience responded to Joe's and Ratso's confusion amidst turbulent times and to the connection they make with each other despite their alienation from the surrounding culture. Midnight Cowboy became one of the major financial and artistic hits of 1969, winning Oscars for Best Picture (the first for an X-rated film), Best Director, and former blacklistee Waldo Salt's screenplay. Though the one-two punch of Midnight Cowboy and The Graduate (1967) proved Hoffman's range and Voight's Joe Buck made him a star, both lost Best Actor to classical cowboy John Wayne for True Grit. ~ Lucia Bozzola, All Movie Guide