Gary Mule Deer Movies

This video features Bill Engvall, star of the country circuit. Host of his own show on TNN and creator of two Billboard Magazine number one-ranked comedy albums, Engvall puts together routines of his own work, along with comedy segments by Gary Mule Deer, Henry Cho, Steve Hall and Shotgun Red, Etta May, and Steve McGrew. The show takes place before a live audience in Nashville. ~ Rose of Sharon Winter, Rovi

During the 1970s, the Gong Show was a game/talent show phenomenon. With equal measures of parody, camp and pure lowest-common denominator exploitation, it presented a bizarre assortment of talented and untalented contestants (for example, the musician who played his trumpet with his bellybutton) making their bid for stardom, and a ridiculous prize of $516.32 while three rambunctious minor celebrity judges looked on offering scores for acts they liked, or instantly stopping showing disapproval by pounding furiously on a large Chinese gong. The co-creator, producer and acid-witted but smarmy daytime host of this tawdry kitsch pastiche was Chuck Barris (AKA "Chuckie Baby"). This attempt at a serious drama chronicles a day in his hectic life as he tries to prepare a new episode of his crazy show. As he deals with a seemingly unending string of increasingly freaky acts, the pressure begins to get to the sensitive, caring (as portrayed in the film) Barris and by the day's end he becomes a true lunatic. ~ Sandra Brennan, Rovi

After getting caught cheating his bookmaking boss over a high-stakes pinball wager, Neil Gallagher (Ken Marshall) leaves his Corpus Christi home for Los Angeles, hoping to make it big as a folk rock balladeer. With best friend Henry (Harvey Lewis) in tow as his manager, Neil finds only failure, but when they come across a streetsmart 14-year-old pinball whiz named Tilt (Brooke Shields), he envisions a plan to get rich quick and save face in his hometown. Impressed by Neil's music, Tilt agrees to hitchhike with him to Texas, thinking she's helping to raise money for a demo tape. They stop by roadside arcades along the way to hustle petty gamblers into betting against the unassuming teen's pinball prowess. When the duo hit home with cash in their pockets, Neil brazenly challenges his former employer, an obese pinball champion known as "the Whale" (Charles Durning), to a 400-dollar game against the unbeatable Tilt. What Neil doesn't realize is that Tilt has caught on to his manipulation and lies, and all his big plans are going to blow up in his face when Tilt and the Whale secretly hold their own late-night pinball tourney. ~ Fred Beldin, Rovi

Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. Jewish comedy writer Alvy Singer (Allen) ponders the modern quest for love and his past romance with tightly-wound WASP singer Annie Hall (Diane Keaton, née Diane Hall). The twice-divorced Alvy knows that it's not easy to find a mate when the options include pretentious New York intellectuals and lifestyle-obsessed Rolling Stone writers, but la-di-dah-ing Annie seems different. Along the rocky road of their coupling, Allen/Alvy weigh in on such topics as endless therapy, movies vs. TV, the absurdity of dating rituals, anti-Semitism, drugs, and, in one of the best set pieces, repressed Midwestern WASP insanity vs. crazy Brooklyn Jewish boisterousness. Annie wants to move to Los Angeles to find that fame that finally does in the relationship -- but not before Alvy gets in a few digs at vacuous, mantra-fixated California. Originally entitled Anhedonia (the inability to enjoy oneself), Annie Hall blended the slapstick and fantasy from such earlier Allen films as Sleeper (1973) and Bananas (1971) with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, Annie Hall beat out Star Wars for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. ~ Lucia Bozzola, Rovi