Jack Ackerman Movies

Tony Curtis stars as the feared leader of "Murder Incorporated" in this underworld drama based on the life of Louis "Lepke" Buchalter. Lepke began his criminal career as a petty thief in his teens; a stretch in prison taught him the finer points of life on the wrong side of the law. After getting out of jail, Lepke and his pal Gurrah Shapiro (Warren Berlinger) join a gang who hire themselves out as strikebreakers, and the vicious but clever Lepke soon rises through the ranks. Lepke makes powerful friends with mob kingpins "Lucky" Luciano (Vic Tayback) and Albert Anastasia (Gianni Russo), and when high-ranking but deranged gangster "Dutch" Schultz (John Durren) announces he's going to kill District Attorney Thomas E. Dewey (Richard C. Adams), Lepke is chosen to rub "Dutch" out. Lepke handles the assignment well, and he's able to strike up a deal with the various Mafia families -- he'll form a separate organization to handle executions and assassinations, and he'll hire out his services to any mobsters who need it, provided the mob bosses approve the killings. Between "Murder Incorporated" and a drug ring operated with Luciano, Lepke has become a wealthy and important man in the underworld, but ironically he finds soon himself himself investigated by the man whose life he unwittingly saved -- Dewey. Lepke also features comedian and impressionist Vaughn Meader as the voice of Walter Winchell. ~ Mark Deming, All Movie Guide

John Cassavetes wrote and directed this look at three middle-aged men thrown into a midlife crisis when one of their mutual friends dies. Harry (Ben Gazzara), Archie (Peter Falk) and Gus (John Cassavetes) attend the funeral of their buddy David Rowlands (Stuart Jackson); all three are starting to feel the pressures of their advancing years, while Harry is having serious problems with his marriage. After the funeral, the three men decide that they need to get away from it all for a while, and they spend the next two days getting drunk, shooting hoops, playing cards, sleeping on the subway, and pretending that they're teenagers again. After 48 hours of irresponsibility, Archie and Gus decide that fun is fun but it's time to go home. But when Harry goes back to his wife, they have a huge argument; Harry storms out and decides to fly to England, persuading Archie and Gus to tag along. They get dressed up, visit a casino, and pick up beautiful women, but while Archie and Gus, as before, look at this as a brief vacation from their lives as loyal husbands and fathers, Harry doesn't want to go home, even though he seems more troubled by his infidelity than do his two friends. Cassavetes' first directorial project after his critical breakthrough with Faces, featuring intense, largely improvised performances by two of his most consistent collaborators, Ben Gazzara and Peter Falk, Husbands was originally released in a cut running 154 minutes, but was trimmed to 138 minutes for general release. ~ Mark Deming, All Movie Guide

Faces is right: this definitive John Cassavetes film consists almost exclusively of tight, uncomfortable close-ups. It takes place in the fourteenth year of the marriage of Richard (John Marley) and Maria (Lynn Carlin). Neither husband nor wife is content with the conditions that prevail; Maria joins her friends looking for romantic satisfaction elsewhere, while Richard secures the services of a prostitute (Gena Rowlands). Maria herself has a one-night stand with a hippie (Seymour Cassel), but this is no more satisfying than her dead-end marriage. If you think that Faces is an exhausting experience in its current 130-minute length, imagine what it looked like in Cassavetes' original six-hour cut. Alternately clumsy and profound, it is nonetheless a work of deep sincerity, as recognized by the Venice Film Festival, which bestowed no fewer than five awards on the film, and it perfectly exemplifies Cassavetes' improvisational, cinéma vérité style and searching explorations of modern relationships. ~ Hal Erickson, All Movie Guide

Shadows was John Cassavetes' first directorial effort. Like his later critically acclaimed films Faces and Husbands, Cassavetes fills the screen with probing, unflattering closeups. Unlike his other films, however, Shadows zips along at 87 minutes, avoiding the pitfall of putting the director's nonfans to sleep. The film is a straightforward account of a biracial romance (a far less common film subject in 1960 than today). Light-skinned African-American Lelia Goldoni falls in love with a white man Anthony Ray, who spurns her when he meets the rest of her family. Far from subtle, Shadows benefits from the undisciplined energy of its direction and the excellence of its individual performances. Costing a scant $40,000 (less than the average half hour TV episode of the era), Shadows won the Critic's Award at the Cannes Film Festival and led to more expensive studio assignments for John Cassavetes. ~ Hal Erickson, All Movie Guide