Damon Douglas Movies

1983  
 
Tom Conti stars as a drunken Scottish poet who preys upon the lasses of a New England college town by swooning over them with poetry and bedding them with a passion. He'd probably have continued in such fashion for who knows how long, were in not for his encounter with a lovely homespun gal (Kelly McGillis), who sets his head spinning in a lovesick swirl and forces him to get his life on track. ~ All Movie Guide

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Starring:
Tom ContiKelly McGillis, (more)
1978  
 
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The longest (26-1/2 hours), most expensive ($25 million) and most complicated (four directors, five producers, five cinematographers, almost 100 speaking parts, several hundred extras) project made for television up to that time, Centennial was shown in two- and three-hour installments over a period of four months. An adaptation of James Michener's best-selling novel, it told the story of the settling of the American West by looking at the founding of the fictional town of Centennial, Colorado, from the settling of the area in the late 18th century to the present. Emmy-nominated for film editing and art direction, it boasts of sterling performances from Richard Chamberlain as frontiersman Alexander McKeag, Robert Conrad as the French-Canadian trapper Pasquinel, and a surprisingly powerful performance from former football star Alex Karras as compassionate but iron-willed immigrant farmer Hans Brumbaugh. ~ Brian Gusse, All Movie Guide

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1978  
PG  
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In this youthful drama, a high-school senior aspires to become a track star while simultaneously dealing with the other travails of youth. One of his best friends is drafted and ends up getting killed in Vietnam. ~ Sandra Brennan, All Movie Guide

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Starring:
Scott JacobyDeborah Benson, (more)
1977  
PG  
This lively actioner was made to cash in on the skateboard mania of the mid 1970s. It is the story of a Hollywood agent who finds himself in deep trouble with a powerful bookie. Now he must come up with the cash he owes or face certain death. To make a fast buck, he creates a team of exceptionally talented skateboarders and enters them in a downhill race. If they win, they will get $20,000. Meanwhile, an evil gangster tries to persuade the agent and his team to deliberately lose. ~ Sandra Brennan, All Movie Guide

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Starring:
Allen GarfieldKathleen Lloyd, (more)
1976  
 

In this WWII-era drama, Jan-Michael Vincent plays Marion Hedgepeth, a young Marine who fails out of a boot camp in 1943 and gets sent home wearing a baby blue suit to symbolize shame and dishonor. In Los Angeles, he runs into a veteran who -- eager to be discharged -- k.o.'s him and switches their uniforms. When Marion regains consciousness, he's clad in a hero's uniform. He begins hitching his way toward his home in St. Louis, dreading the prospect of confessing to his folks, but stops for a time in a small town where he's mistaken for a hero and immediately falls in love with a waitress, Rose (Glynnis O'Connor). Meanwhile, as the truth threatens to emerge and bring disgrace raining down onto his head, several residents of a Japanese internment camp escape. ~ Nathan Southern, All Movie Guide

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Starring:
Jan-Michael VincentGlynnis O'Connor, (more)
1976  
PG  
Written and directed by Frank D. Gilroy, this Western casts Charles Bronson as Graham Dorsey, a two-bit Western outlaw who has a three-hour affair with lonely Amanda Starbuck (Jill Ireland). When Dorsey is reported killed, Starbuck capitalizes on her liaison by building up the "legend" of the supposed deceased outlaw. Soon Dorsey has become an icon, glorified in song, fable, and dime novels. Imagine Starbuck's discomfort when he turns up very much alive, and extremely upset at being turned into Amanda's own private cottage industry. At the end, Dorsey isn't even left with his own identity. This picture is somewhat unconventional for a Western, downplaying violence in favor of characterization and dark humor. ~ Hal Erickson, All Movie Guide

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Starring:
Charles BronsonJill Ireland, (more)
1976  
R  
Dutch cult director Rene Daalder's fascinating debut was this unfairly neglected and richly idea-laden political allegory set in an American high school. Derrel Maury stars as David, a new student at Central High School who is shocked at the degree of control wielded by three preppie thugs who run the school with an iron fist. At first befriended by Mark (Andrew Stevens), David is soon the victim of bullying when Mark believes that he is courting his girlfriend, Teresa (Kimberly Beck), and points him out to the "ruling class." The worst is still to come, however, when David threatens the pecking order by foiling the three boys' attempted gang rape of a female student and has his leg crushed for his efforts. Eventually, the crippled David politicizes the underclass to fight their oppressors, and all three are killed by falling (from political power, the analogy clearly suggests). Daalder then takes the film in a different direction, with the newly liberated student body becoming an oppressive force themselves, and David enraged to the point of mass murder, deciding to wipe out the entire school. Stirred to action, it is up to the formerly apolitical Mark and Teresa to stop him. Daalder shrinks the entire political spectrum into the crucible of what seems on the surface to be a standard exploitation film. There are representatives of the extreme left, extreme right, disaffected center, intellectual bourgeoisie, and so forth, and all are nicely sketched without sacrificing the film's visceral appeal. Beyond the portraits, however, Daalder also skillfully shows the transitions which occur in many political movements, notably those which start as populist and develop into oppressively hierarchical castes. Perhaps disheartened by the failure of Massacre at Central High at the box office, Daalder did not direct again for nearly two decades, but returned with two more conceptually challenging (if equally unsuccessful) genre films, Hysteria and Habitat, in the mid-'90s. ~ Robert Firsching, All Movie Guide

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1974  
 
In this thriller, an enigmatic phantom lives in the dank tunnels running beneath the ramshackle back lot of a former movie lot. When prospective buyers endeavor to purchase the property, the furious phantom goes on the rampage. ~ Sandra Brennan, All Movie Guide

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1974  
 
Murray Hamilton guest stars as Barney Lujack, former partner of SFPD detective Mike Stone (Karl Malden). Barney returns to San Francisco after a long absence, but not for a reunion with his old pal Mike. Instead, Lujack intends to kill the hired gun (Burr DeBanning) who murdered his son--and he isn't about to let anyone, not even Mike, get in his way. Featured in the supporting cast is onetime child actor Tommy Cook. ~ Hal Erickson, All Movie Guide

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1974  
 
Everything that can go wrong does go wrong as John-Boy (Richard Thomas) begins his freshman year at Boatwright College in the fall of 1934. Our hero unwittingly breaks long-standing rules, upsets protocol, misplaces important documents, and finds himself the victim of innumerable practical jokes perpetrated by the snobbish (and monumentally immature!) upper classmen. And back on Walton's Mountain, the younger Walton kids are none too pleased as Jason (Jon Walmsley) presumptively takes over the "big brother" role in John-Boy's absence. ~ Hal Erickson, All Movie Guide

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1973  
 
Thanks to the loopholes in the legal system, Officers Jim Reed (Kent McCord) and Pete Malloy (Martin Milner) are frustrated in their efforts to bring a hardened drug dealer and a teenage car thief to justice. Inevitably, a tragedy results from these judicial inquities. Featured in the cast as one of Jim and Pete's fellow officers is Joe Kapp, former pro quarterback with the Minnesota Vikings and the Boston Patriots. This is the final episode of Adam-12's fifth season. ~ Hal Erickson, All Movie Guide

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1973  
 
Season Two of Streets of San Francisco opens with an episode focusing on Steve Keller (Michael Douglas), the young partner of veteran SFPD detective Mike Stone (Karl Malden). Forced to kill a robbery suspect, Keller finds his career on the line when the dead man's father (Michael Constantine) insists that his son was unarmed. This time, not even Stone can come to Keller's rescue unless a weapon is found--a prospect that grows dimmer as the story wears on. ~ Hal Erickson, All Movie Guide

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