George Justin Movies

A gumshoe gets in deep kim-chi when he agrees to murder a fellow's wife in exchange for $25,000 up front. No sooner does he accept the money than he is running off to his intended victim to first warn her and then sleep with her. As soon as they finish making love, he learns that she was not the wife and that the real one has been killed. Now the detective finds himself framed for murder and must somehow avoid the determined police detective who constantly dogs him while continuing his own investigation of the circumstances. His search leads him into the fashion-model world where he encounters more deception, double-crossing and danger. ~ Sandra Brennan, Rovi

This run-of-the-mill teen romantic comedy's main attraction is 22-year-old Demi Moore as Laura Victor, an aspiring rock singer. The slightly younger Jon Cryer is Charles Cummings, a dedicated photographer who meets Laura, falls in love, and decides that a dedication to furthering her career might further his own amorous designs. Charles is essentially a loser when it comes to women -- and just about anything else except photography. One day Charles captures Laura on film along a San Francisco seashore and is shocked but excited to run into her later while at a North Beach nightclub where she is a performer. Unable to just let her go, he finally convinces her to pose for him, and as a result of that session he comes up with one good photo which he then puts on nearly 200 San Francisco cabs -- using up all his savings in the process. The result consists of offers that have nothing to do with singing -- until one exception occurs. Another new face in the crowd in this conventional movie is Jennifer Tilly (younger sister of Meg Tilly and Oscar-nominated for her role in Bullets Over Broadway), working in her first film. ~ Eleanor Mannikka, Rovi

A shutterbug is haunted by psychic visions of the killer who is murdering all of her friends in this hit thriller. Intense and driven, successful photographer Laura Mars (Faye Dunaway) has made a name for herself by juxtaposing sex and violence in her glamorous photos. But at the height of her success -- and just as a media backlash is brewing -- she begins to experience daydreams from the point of view of a serial killer as he relentlessly stalks and murders her associates. Her unbalanced ex-husband (Raul Julia) seems like an obvious suspect, especially when his new girlfriend is murdered and he goes on the lam. But Laura is shocked by the prospect that the killer could be somebody out to discredit her work, which she views as an artistic commentary on the degradation of the modern world. Under the protection of police detective John Neville (Tommy Lee Jones), Laura is unable to save even one of her friends from a violent end. Soon, she finds herself inside the mind of the killer as he marches down a familiar hallway: the one outside her own door. Co-written by Halloween director John Carpenter, Eyes of Laura Mars also features character actors Brad Dourif and René Auberjonois. ~ Brian J. Dillard, Rovi

Doc Levy (Roy Scheider) is an American secret agent who has been running interference between the U.S. government and escaped Nazi war criminal Szell (Laurence Olivier). Believing that Doc has stolen a valuable cache of gems, Szell emerges from his South American hiding place and heads for New York. He has Doc killed, then kidnaps Doc's in-the-dark brother, Babe (Dustin Hoffman). Repeating the phrase "Is it safe?" over and over, Szell, a onetime concentration camp dentist, tries to extract information from Babe by performing sadistic "oral surgery" upon him. Babe, who still doesn't know about the gems, escapes, breaking his own self-imposed rule of nonviolence to defend himself against his pursuers and gearing up for sadistic revenge. ~ Hal Erickson, Rovi

"You may think you know what you're dealing with, but believe me, you don't," warns water baron Noah Cross (John Huston), when smooth cop-turned-private eye J.J. "Jake" Gittes (Jack Nicholson) starts nosing around Cross's water diversion scheme. That proves to be the ominous lesson of Chinatown, Roman Polanski's critically lauded 1974 revision of 1940s film noir detective movies. In 1930s Los Angeles, "matrimonial work" specialist Gittes is hired by Evelyn Mulwray (Faye Dunaway) to tail her husband, Water Department engineer Hollis Mulwray (Darrell Zwerling). Gittes photographs him in the company of a young blonde and figures the case is closed, only to discover that the real Mrs. Mulwray had nothing to do with hiring Gittes in the first place. When Hollis turns up dead, Gittes decides to investigate further, encountering a shady old-age home, corrupt bureaucrats, angry orange farmers, and a nostril-slicing thug (Polanski) along the way. By the time he confronts Cross, Evelyn's father and Mulwray's former business partner, Jake thinks he knows everything, but an even more sordid truth awaits him. When circumstances force Jake to return to his old beat in Chinatown, he realizes just how impotent he is against the wealthy, depraved Cross. "Forget it, Jake," his old partner tells him. "It's Chinatown." Reworking the somber underpinnings of detective noir along more pessimistic lines, Polanski and screenwriter Robert Towne convey a '70s-inflected critique of capitalist and bureaucratic malevolence in a carefully detailed period piece harkening back to the genre's roots in the 1930s and '40s. Gittes always has a smart comeback like Humphrey Bogart's Sam Spade and Philip Marlowe, but the corruption Gittes finds is too deep for one man to stop. Other noir revisions, such as Robert Altman's The Long Goodbye (1973) and Arthur Penn's Night Moves (1975), also centered on the detective's inefficacy in an uncertain '70s world, but Chinatown's period sheen renders this dilemma at once contemporary and timeless, pointing to larger implications about the effects of corporate rapaciousness on individuals. Polanski and Towne clashed over Chinatown's ending; Polanski won the fight, but Towne won the Oscar for Best Screenplay. Chinatown was nominated for ten other Oscars, including Picture, Director, Actor, Actress, Cinematography, Art Direction, Costumes, and Score. ~ Lucia Bozzola, Rovi

The Owl and the Pussycat began life as a two-character Broadway play by Bill Manhoff, about a stuffy author who entered into an explosive relationship with his neighbor, a foulmouthed, freewheeling prostitute. Manhoff wrote the part of the hooker for a black actress, but all that changed when Barbra Streisand was cast in the role for the film version. George Segal portrays the male lead, and the play's two-character austerity was expanded to a cast of 19 speaking parts. Beyond the added characters (including Robert Klein as Segal's swinging roommate), the heart and soul of the film is the Segal-Streisand relationship; he is utterly appalled by her lifestyle, she is turned off by his prudishness, and both are made for each other. The Owl and the Pussycat was adapted for the screen by Buck Henry, who shows up in a cameo role in one of the bookstore scenes. The film represented the last work of cinematographer Harry Stradling, who'd previously photographed Streisand in Funny Girl; Stradling died during production, and was replaced by Ernest Laszlo. ~ Hal Erickson, Rovi

"Just one word: plastic." "Are you here for an affair?" These lines and others became cultural touchstones, as 1960s youth rebellion seeped into the California upper middle-class in Mike Nichols' landmark hit. Mentally adrift the summer after graduating from college, suburbanite Benjamin Braddock (Dustin Hoffman) would rather float in his parents' pool than follow adult advice about his future. But the exhortation of family friend Mr. Robinson (Murray Hamilton) to seize every possible opportunity inspires Ben to accept an offer of sex from icily feline Mrs. Robinson (Anne Bancroft). The affair and the pool are all well and good until Ben is pushed to go out with the Robinsons' daughter Elaine (Katharine Ross) and he falls in love with her. Mrs. Robinson sabotages the relationship and an understandably disgusted Elaine runs back to college. Determined not to let Elaine get away, Ben follows her to school and then disrupts her family-sanctioned wedding. None too happy about her pre-determined destiny, Elaine flees with Ben -- but to what? Directing his second feature film after Who's Afraid of Virginia Woolf?, Nichols matched the story's satire of suffocating middle-class shallowness with an anti-Hollywood style influenced by the then-voguish French New Wave. Using odd angles, jittery editing, and evocative widescreen photography, Nichols welded a hip New Wave style and a generation-gap theme to a fairly traditional screwball comedy script by Buck Henry and Calder Willingham from Charles Webb's novel. Adding to the European art film sensibility, the movie offers an unsettling and ambiguous ending with no firm closure. And rather than Robert Redford, Nichols opted for a less glamorous unknown for the pivotal role of Ben, turning Hoffman into a star and opening the door for unconventional leading men throughout the 1970s. With a pop-song score written by Paul Simon and performed by Simon & Garfunkel bolstering its contemporary appeal, The Graduate opened to rave reviews in December 1967 and surpassed all commercial expectations. It became the top-grossing film of 1968 and was nominated for seven Oscars, including Best Picture, Actor, and Actress, with Nichols winning Best Director. Together with Bonnie and Clyde, it stands as one of the most influential films of the late '60s, as its mordant dissection of the generation gap helped lead the way to the youth-oriented Hollywood artistic "renaissance" of the early '70s. ~ Lucia Bozzola, Rovi

Expanded from a two-character play by Murray Schisgal, this comedy stars Eli Wallach as Ben Harris, a disgruntled New York City mail carrier. Harris is fed up with being cheated by his landlords, the Kellys (Roland Wood and Ruth White), so he terrorizes them and the city's housing authority until they agree to give him a new apartment. Not satisfied, Harris "goes postal" by kidnapping a bored suburban housewife, Gloria Fiske (Anne Jackson) and taking her back to his apartment. To his surprise, he finds that Gloria also hates the world, and they become fast friends. He eventually lets her go but follows her home. When he tries to climb into her window, her husband Jerry (Bob Dishe) chases him away. Harris returns to his apartment building, where the Kellys invite him in to watch TV, and somehow this soothes his wrath. Dustin Hoffman has a small role as a hippie named Hap. ~ Michael Betzold, Rovi

Playwright Eugene O'Neill sold Random House the text of his intensely autobiographical 1941 play on the proviso that the play not be produced during O'Neill's lifetime. Two years after the playwright's death in 1953, the play was given its first Broadway staging and won a Pulitzer Prize. Set in 1912 New England, the story takes place in the summer home of aging actor James Tyrone (Ralph Richardson) and his family. Tyrone, patterned after Eugene O'Neill's father James O'Neill, has long abandoned any aspirations to be a truly great actor, choosing instead to tour in the same weary stage vehicle year after year. Thanks to an earlier act of stinginess on Tyrone's part, his wife Mary has turned into a rambling morphine addict, with little or no contact with reality. Oldest son Jamie is a troublemaking alcoholic, envious of the writing talent of sickly younger brother Edmund (the Eugene O'Neill counterpart). The long's day journey concludes with a hellish night in which the three Tyrone men sit about drunkenly as Mary Tyrone hallucinates about her younger, happier days. Katharine Hepburn emerged from a three-year retirement to essay the back-breaking role of Mary Tyrone; Ralph Richardson exhumed all the "ham" of his student-actor days to portray the pathetic James Tyrone; Jason Robards Jr., a man seemingly put on this earth to interpret O'Neill, repeats his Broadway role as Jamey; and Dean Stockwell adds one more superb characterization to his gallery of portrayals as the tubercular Edmund. ~ Hal Erickson, Rovi

Fugitive Kind began life as Battle of Angels, a never-produced 1939 play by a young Tennessee Williams. Nearly 20 years later, Williams refined this rough-hewn theatrical effort into Orpheus Descending, which enjoyed a respectable Broadway run. The renamed film version stars Marlon Brando as Valentine "Snakeskin" Xavier, a trouble-prone drifter who wanders into a deliciously Williamsesque Mississippi town. Here he becomes involved in the problems of alcoholic Carole Cutrere (Joanne Woodward) and unhappily married Lady Torrence (Anna Magnani) and also runs afoul of Torrence's vicious husband (Victor Jory). Sexual symbolism abounds in this tempestuous drama, which offers Brando at his most inscrutable and Magnani at her earthiest. Maureen Stapleton, in real life one of Brando's best friends and severest critics, plays an avant-garde artist. ~ Hal Erickson, Rovi

Wind Across the Everglades represents the once-in-a-lifetime collaboration between director Nicholas Ray and screenwriter Budd Schulberg, and a strange little picture it is indeed. In his second film appearance, Christopher Plummer plays bibulous 19th-century Florida game warden Walt Murdock, who declares war on the poachers in his region. This brings him in direct conflict with the legendary Cottonmouth (Burl Ives), the spiritual leader of a group of illegal birdhunters. The highly eccentric supporting cast includes Gypsy Rose Lee as a sensuous farm wife, boxer "Two Ton" Tony Galento as a lout named Beef, circus clown Emmett Kelly as the much-married Bigamy Bob, novelist Mackinlay Kantor as the regional judge, and Peter Falk in his film debut, as an owlish writer. After Wind Across the Everglades, Nick Ray's Johnny Guitar will seem as antiseptic as Heidi. ~ Hal Erickson, Rovi

Andy Griffith makes a spectacular film debut in this searing drama as Lonesome Rhodes, a philosophical country-western singer discovered in a tanktown jail by radio talent scout Patricia Neal and her assistant Walter Matthau. They decide that Rhodes is worthy of a radio spot, but the unforeseen result is that the gangly, aw-shucks entertainer becomes an overnight sensation not simply on radio but, thereafter, on television. As he ascends to stardom, Rhodes attracts fans, sponsors and endorsements by the carload, and soon he is the most powerful and influential entertainer on the airwaves. Beloved by his audience, Rhodes reveals himself to his intimates as a scheming, power-hungry manipulator, with Machiavellian political aspirations. He uses everyone around him, coldly discarding anyone who might impede his climb to the top (one such victim is sexy baton-twirler Lee Remick, likewise making her film debut). Just when it seems that there's no stopping Rhodes' megalomania, his mentor and ex-lover Neal exposes this Idol of Millions as the rat that he is. She arranges to switch on the audio during the closing credits of Rhodes' TV program, allowing the whole nation to hear the grinning, waving Rhodes characterize them as "suckers" and "stupid idiots." Instantly, Rhodes' popularity rating plummets to zero. As he drunkenly wanders around his penthouse apartment, still not fully comprehending what has happened to him, Rhodes is deserted by the very associates who, hours earlier, were willing to ask "how high?" when he yelled "jump". Written by Budd Schulberg, Face in the Crowd was not a success, possibly because it hit so close to home with idol-worshipping TV fans. Its reputation has grown in the intervening years, not only because of its value as a film but because of the novelty of seeing the traditionally easygoing Andy Griffith as so vicious and manipulative a character as Lonesome Rhodes. ~ Hal Erickson, Rovi

A Puerto Rican youth is on trial for murder, accused of knifing his father to death. The twelve jurors retire to the jury room, having been admonished that the defendant is innocent until proven guilty beyond a reasonable doubt. Eleven of the jurors vote for conviction, each for reasons of his own. The sole holdout is Juror #8, played by Henry Fonda. As Fonda persuades the weary jurors to re-examine the evidence, we learn the backstory of each man. Juror #3 (Lee J. Cobb), a bullying self-made man, has estranged himself from his own son. Juror #7 (Jack Warden) has an ingrained mistrust of foreigners; so, to a lesser extent, does Juror #6 (Edward Binns). Jurors #10 (Ed Begley) and #11 (George Voskovec), so certain of the infallibility of the Law, assume that if the boy was arrested, he must be guilty. Juror #4 (E.G. Marshall) is an advocate of dispassionate deductive reasoning. Juror #5 (Jack Klugman), like the defendant a product of "the streets," hopes that his guilty vote will distance himself from his past. Juror #12 (Robert Webber), an advertising man, doesn't understand anything that he can't package and market. And Jurors #1 (Martin Balsam), #2 (John Fiedler) and #9 (Joseph Sweeney), anxious not to make waves, "go with the flow." The excruciatingly hot day drags into an even hotter night; still, Fonda chips away at the guilty verdict, insisting that his fellow jurors bear in mind those words "reasonable doubt." A pet project of Henry Fonda's, Twelve Angry Men was his only foray into film production; the actor's partner in this venture was Reginald Rose, who wrote the 1954 television play on which the film was based. Carried over from the TV version was director Sidney Lumet, here making his feature-film debut. A flop when it first came out (surprisingly, since it cost almost nothing to make), Twelve Angry Men holds up beautifully when seen today. It was remade for television in 1997 by director William Friedkin with Jack Lemmon and George C. Scott. ~ Hal Erickson, Rovi