Joe Dallesandro Movies

This portrait of the man who brought nude male flesh into the American mainstream combines present-day interviews, archival footage, and semi-fictionalized dramatization into a cinematic hybrid. Photographer and filmmaker Bob Mizer (Daniel MacIvor) founded the Athletic Model Guild, or AMG, in Los Angeles in 1945, hoping to turn his fascination with the male physique into a successful business that used nude and semi-nude photographs to sell the services of models to painters and the like. When the photos themselves proved more lucrative than the non-existent modeling contracts, Mizer launched Physique Pictorial. The magazine ostensibly offered bodybuilding tips and moral guidance to young men the world over, but in reality its clientèle included legions of gay men eager for eye candy. With the help of his mother and business partner, Delilah (Carroll Godsman), Mizer parlayed his magazine, short films, and other work into a palatial residence/studio where young men fresh off the bus from Nowheresville could frolic, crash, and earn a little cash in front of the camera (or on the casting couch). Occasional run-ins with the law and stints in prison couldn't deter Mizer from continuing his photography until his death in the early '90s. His models, contemporaries, and associates included bodybuilding proponent Jack LaLane and future Warhol superstar Joe Dallesandro, who are among the many men interviewed by filmmaker Thom Fitzgerald. The writer/director/producer intersperses his dramatic and documentary sequences with plenty of actual AMG and Physique Pictorial images. The film's narrative arc, however, focuses on the fictionalized character of novice model Neil E. O'Hara (Joshua Peace), who serves as a stand-in for the audience as he acclimates himself to Mizer's campy, flesh-filled compound and witnesses the photographer's betrayal by another model, Red (Jack Griffin Mazeika). Beefcake was inspired by F. Valentine Hooven III's book Beefcake: The Muscle Magazines of America, 1950-1970. The scenes of Mizer's trial for pandering were based on transcripts of the real-life Red's courtroom testimony. The character name Neil E. O'Hara, of course, is a joking reference to Neely O'Hara, the ingénue character from Valley of the Dolls. ~ Brian J. Dillard, All Movie Guide

Mika Kaurismaki directed this British-French-Finnish romantic comedy adapted from Richard Rayner's autobiographical novel about a series of Hollywood misadventures. Vacationing in the North of England, aspiring Los Angeles actress Barbara (Vinessa Shaw) stops briefly in a village where she meets town undertaker and obit writer Richard (David Tennant) -- who just can't stop thinking about her. Flying to California, Richard arrives at the Japanese restaurant where Barbara is a waitress, and a relationship begins -- while Richard learns about Hollywood at the hands of various hustlers and agents. Shown at the 1998 Toronto Film Festival. ~ Bhob Stewart, All Movie Guide

Wesley Snipes and Michael Wright play druglord brothers who have a mob-like crime empire in the Sugar Hill section of Harlem. Through flashbacks, we see how Roemello Skuggs (Snipes) and Raynathan Skuggs (Wright) entered the drug culture, with Raynathan helping his mother inject heroin. She died when the boys were young, but their father A.R. Skuggs (Clarence Williams III) survived, remaining a hopeless and frightful heroin addict. Roemello has grown up to be an educated, culturally pretentious businessman who stays away from his own merchandise, wears expensive cashmere coats and other colorful clothes, and lives in a beautiful uptown apartment, while being plagued by guilt. Raynathan, however, is losing his battle with drug addiction and spiraling downward. Roemello runs the family drug business with the help of an old-fashioned mob boss, Gus Molino (Abe Vigoda), whose grocery is a front for the dealing. To fuel his doubts, Roemello becomes involved with a beautiful aspiring actress, Melissa (Theresa Randle), and she urges him to get out of the drug business. But a rival dealer, Lolly Jonas (Ernie Hudson), cuts into Roemello territory, there is a brutally violent turf war, and Roemello must decide whether to defend or abandon his livelihood. ~ Michael Betzold, All Movie Guide

Not so much a remake of Joseph H. Lewis's 1949 film noir classic as a variation on its themes, Guncrazy stars Drew Barrymore as Anita, a teenage girl who was born in a trailer park on the wrong side of the tracks and has been fighting a losing battle with respectability ever since. Anita was abused sexually by her mother's boyfriend (played by onetime Warhol "superstar" Joe Dallesandro), is the subject of lewd advances by the school bullies, and is looked on as a slut and a loser by her peers. When Anita has to find a pen pal for a class assignment, she ends up corresponding with a prisoner named Howard (James LeGros), who's serving time for manslaughter. Howard is one of the first people to address Anita with tenderness and respect, so when he gets parole, Howard moves in with her. Howard's obsessive love of guns, however, once again leads to violence, and the couple hits the road hoping to escape their fates. The debut film from director Tamra Davis, Guncrazy was originally shown on cable television, but received enough critical acclaim to merit a later theatrical release. ~ Mark Deming, All Movie Guide

Australian star Paul Hogan just couldn't seem to come up with a hit comparable to his 1986 international hit Crocodile Dundee. Hogan's Almost an Angel was a nice try, but no cigar. The star plays a lifelong thief who suffers a potentially fatal accident. While "in limbo", Hogan is visited by God (amusingly played by Charlton Heston-well, why not Charlton Heston?). When he recovers, Hogan is convinced that he'd been returned to the land of the living in order to do God's work. He turns over a new leaf, coming to the assistance of wheelchair-bound Elias Koteas and his pretty sister Linda Kozlowski (the real-life Mrs. Hogan). At first suspicious of Hogan, Kozlowski is finally won over by his new-found sincerity. So lightweight that it threatens to float away at any moment, Almost an Angel is held together exclusively by Paul Hogan's star appeal. Unfortunately, this wasn't enough to insure a box-office success. ~ Hal Erickson, All Movie Guide

A former Vietnam war hero becomes a drill instructor. Members of his squad begin dying from questionable accidents, and one of the soldiers discovers that the brutal DI makes his own rules. ~ All Movie Guide

Telly Savalas stars as the washed-up star of a Kojak-like TV series who agrees to investigate a real-life kidnapping case. ~ Jason Ankeny, All Movie Guide

Director Blake Edwards departed from his customary sex farces to direct an unusual satirical Western comedy-thriller. In 1927, legendary lawman Wyatt Earp (James Garner) comes to Hollywood to serve as an advisor to a film studio making a movie about Earp's life. He meets silent screen cowboy star Tom Mix (Bruce Willis). The two stumble upon a murder that has apparently occurred on the set but is linked to a renowned bordello. The aging cowboy and the young actor set off on a series of time-warp misadventures to try to solve the mystery. Along the way, they encounter the shady Alfie Alperin (Malcom McDowell) and the intriguing Cheryl King (Mariel Hemingway). ~ Michael Betzold, All Movie Guide

Combining electric song and dance performances with drama (both on and off screen), Francis Ford Coppola's The Cotton Club (1984) looks back to the 1920s-1930s peak of the legendary Harlem nightclub where only blacks performed and only whites could sit in the audience. Mixing historical figures with characters loosely based on actual people, Coppola and co-writers William Kennedy and The Godfather's Mario Puzo create a panorama of love, crime, and entertainment centered on the Club. Among them are cornet player Dixie Dwyer (Richard Gere, playing his own solos), who escapes psycho gangster "benefactor" Dutch Schultz (James Remar) for a George Raft-type Hollywood career as a gangster film star; Schultz's nubile mistress Vera Cicero (Diane Lane), who loves Dixie against her mercenary instincts; Cotton Club Mob owner Owney Madden (Bob Hoskins) and close associate Frenchy Demarge (Fred Gwynne); Vincent (Nicolas Cage), Dixie's no-good Mad Dog Coll-esque brother; Club tap star Sandman Williams (Gregory Hines), who woos ambitious light-skinned Club singer Lila Rose Oliver (Lonette McKee); and cameos by Charles "Honi" Coles and Cab Calloway impersonator Larry Marshall. Complementing the period story, Coppola evokes the style of '30s gangster movies and musicals through an array of old-fashioned devices like montages of headlines, songs and shoot-outs. Conceived by producer Robert Evans as his crowning achievement and directorial debut, Evans had to hand over the troubled production to Coppola, but the budget spiraled out of control as the script was repeatedly re-written throughout the chaotic shoot. By the time it was released, The Cotton Club's epic production story of power struggles, financial bloat, and even a murder overshadowed the "reunion" of The Godfather's creative team. Neither a Heaven's Gate-sized failure nor a wallet-saving hit like Coppola's Apocalypse Now, The Cotton Club got some favorable critical notices (although it drew fire for subordinating the African American stories). It did not, however, find a large enough audience to justify its expense and controversy, becoming another mark against 1970s "auteur" cinema in increasingly blockbuster-driven 1980s Hollywood. ~ Lucia Bozzola, All Movie Guide

A completely routine drama involving sexual situations and rough characters, this story directed and written by Catherine Breillat looks at the liaison between Solange (Dominique Laffin) and Bruno (Bertrand Bonvoisin). Solange is the female version of a womanizing film director who is confident about her conquests and her ability to figure out men. Along comes Bruno, and Solange's faith in her knowledge of men is put to a test and found wanting. In spite of her better judgment, she is undeniably attracted to Bruno though the man is going to be trouble in a big way. ~ Eleanor Mannikka, All Movie Guide

Set in a rural area of France in the 19th century, this simple tale tells the story of a servant girl whose life seems marked by grand tragedy, but whose heart is simple and uncomplicated enough not only to endure, but even to attain serenity in the face of her manifold frustrations. Her only friend, to whom she pours out all her troubles, is an old parrot. When the parrot dies, she reverently has it stuffed and continues telling it her woes. This drama is based on a story by Gustave Flaubert. ~ Clarke Fountain, All Movie Guide