Don Johnson Movies

Written and directed by Max Myers, Don't Let Go reflects on the musical past of siblings Jimmy Ray (Scott Wilson) and Billy Joe (Justin Shilton), who headed a rockabilly band called "The Texas Tumbleweeds" in the late '50s. Unfortunately, Jimmy Ray (Wilson) leaves the band for the bottle after his brother is murdered in a dispute over a woman. Forty years down the line, Jimmy Ray is an alcoholic and a distant father to his two children, young Billy Joe (Levi Kreis), and Johnny Blue (Brad Hawkins). At first, Jimmy Ray refuses to attend the concerts of his sons, who are burning up the rockabilly circuit themselves as leaders of "The Texas Two-Tones." The young band decides to hold a fundraiser in honor of the late Billy Joe (Shilton), and as a tribute to the 40 year anniversary of their father's former band. Though it seems that there is no chance of their father attending, Jimmy Ray happens upon his brother's old guitar in a junk shop and slings it over his shoulder in spite of himself. Don't Let Go also features Katharine Ross and Irma P. Hall. ~ Tracie Cooper, All Movie Guide

The sequel to Warlock, this film features the return of the evil warlock (Julian Sands) who is on a quest to search out and obtain a set of six magical runestones needed to summon the Devil to Earth. However, a group of powerful druids have become aware of the sinister plans afoot, and it is up to them to defeat the warlock and prevent Armageddon. ~ Iotis Erlewine, All Movie Guide

Ernest Thompson, the playwright responsible for the Pulitzer Prize winning On Golden Pond, makes his directorial debut with 1969. Kiefer Sutherland plays a draft-age youth who undergoes an epiphany when one of his friends is killed in Vietnam. Sutherland's subsequent antiwar stance causes a great deal of tension within his own family, though his mother, Mariette Hartley, tries her best to understand. ~ Hal Erickson, All Movie Guide

Shortly after The Terminator wrote his name in bold neon lights across box-office grosses, this action thriller took advantage of the hitherto (almost) unexploited comic side of star Arnold Schwarzenegger and paired him with Rae Dawn Chong. Colonel Matrix (Schwarzenegger) is retired and living peaceably with his 10-year-old daughter when she is kidnapped by the henchmen of an exiled Latin American dictator. The dictator's plan is to reinstate himself in power by eliminating the president of his country, using Matrix to kill him (or he will kill the kidnapped daughter). Matrix escapes from the plane that is supposed to be carrying him to his mission and then proceeds to go from one violent confrontation to the next as he hunts down the dictator and moves to rescue his daughter. Helping him is Cindy (Chong), who has her own reasons for wanting the dictator dead. ~ Eleanor Mannikka, All Movie Guide

A very inexperienced rock band flirts with fame thanks to a valuable assist from the media in this comedy-drama directed by veteran music producer Lou Adler. Corinne Burns (Diane Lane) is a fifteen-year-old orphan who gains a measure of local notoriety when she quits her job at a burger stand during a live television newscast. Corinne has few prospects but plenty of nerve, and she's formed a band with her sister Tracy (Marin Kanter) and cousin Jessica (Laura Dern) called the Stains. While checking out a gig by veteran hard rock band the Metal Corpses, led by flamboyant singer Lou Corpse (Fee Waybill), opened by British punk upstarts the Looters, Corrine sneaks backstage to ask advice just as Lou demands tour manager Lawnboy (Barry Ford) find a new opening act. Lawnboy impulsively gives the Stains the gig, and while the first show for the girls (who've had all of three practices) is little short of a disaster, Corrine's skunk-stripe hairdo, provocative clothes and defiant declaration "We don't put out" captures the attention of a television reporter who covered her before. A story on the evening news about the Stains turns the band into a cult sensation, and Looters lead singer Billy (Ray Winstone) tries to offer her some advice and emotional support as the Stains rise from opening act to headliners, but Corinne and her friends learn that their new fans are a very fickle breed. Shot in 1980 but released to only a handful of theaters in 1982, Ladies and Gentlemen, The Fabulous Stains gained a potent cult following after it appeared on cable television, largely among punk rock fans -- the Looters featured Steve Jones and Paul Cook of the Sex Pistols on guitar and drums as well as Paul Simonon from the Clash on bass, while L.A. punk troublemakers Black Randy and the Metrosquad briefly appear as themselves. ~ Mark Deming, All Movie Guide

Clint Eastwood put his tough-guy image on hold for this personal project, which follows a musician taking one final chance at the big time. Red Stovall (Eastwood) is a would-be country singer who has been bouncing around the margins of the music business for years. With nowhere in particular to go, Red arrives at the failing Oklahoma farm of his sister for an extended visit, where her son Whit (Kyle Eastwood) quickly bonds with his uncle. However, it's obvious that Red is in very poor health, drinking heavily and breathing with difficulty, and when Red is invited to audition for the Grand Old Opry in Nashville, Whit tags along for the road trip to keep an eye on his ailing uncle. En route, Red and Whit are joined by Whit's grandfather (John McIntire) and another hopeful vocalist, Marlene (Alexa Kenin), who like Red is chasing her own dreams of stardom on the Opry. Clint Eastwood performed his own vocals and guitar work for Honkytonk Man, and a number of Nashville legends appear in cameo roles, including Marty Robbins, Porter Wagoner, Ray Price, Merle Travis, and Johnny Gimble. ~ Mark Deming, All Movie Guide

In this comedy, an elderly ex-vaudevillian is surprised to find a naked young woman in the trunk of his car. He soon discovers that she is a runaway fleeing from both the police and an enraged drug dealer she cheated out of $20,000. Meanwhile, the codger's daughter continually attempts to get him committed because of his overly generous support of his former colleagues. ~ Sandra Brennan, All Movie Guide

When You Comin' Back, Red Ryder? has been presented often as a stage play by amateur theatrical groups. Evangelist-turned-actor Marjoe Gortner plays Teddy, a cracked Vietnam vet who holds the denizens of a Texas roadside diner hostage at gunpoint. Candy Clark plays Cheryl, his zoned-out hippie girlfriend. After nearly two hours of tension, Gortner is overpowered and things return to normal. ~ Hal Erickson, All Movie Guide

William Devane plays a rare sympathetic role in Rolling Thunder, though his behavior is just as cold-blooded and sharkish as in any of his villainous assignments. Devane is cast as Maj. Charles Rane, a recently released Vietnam POW who is given a hero's welcome in his Texas hometown. Things sour pretty quickly, however: Rane's wife has lost all love for him, his son doesn't recognize him, and there are those in town who consider him a "loser" or "baby-killer." All he really has to show for his ordeal in Nam is a cache of silver coins bestowed on him by the more sympathetic townsfolk. A scumbag gang of thieves decides to relieve Rane of his money; they kill his family, then torture and disfigure Rane to ascertain the whereabouts of the coins. Now living only for vengeance, the taciturn Rane heads to Mexico to exact his own brand of justice on the fleeing crooks. Tommy Lee Jones co-stars as Rane's best friend, Johnny Vohden, who unquestioningly agrees to help Rane in his mission of revenge. ~ Hal Erickson, All Movie Guide

A latter-day attempt to update the swordplay success of Errol Flynn movies, this film is part burlesque, part homage to old-fashioned pirate films. James Earl Jones and Robert Shaw play Nick Debrett and Ned Lynch, two pirates who save a noblewoman, Jane Barnet (Geneviève Bujold), and take her to Jamaica. They find that their friends have been taken captive by a ruthless dictator -- Peter Boyle plays the foppish villain Lord Durant with an over-the-top swagger. Debrett and Lynch set out to rescue their friends and overthrow the perverted tyrant. Beau Bridges plays Major Folly, a fancy-dressing Scarlet Pimpernel sort. A young Anjelica Huston has a minor part as a nameless woman. There is plenty of swordplay, blood, slapstick, and cleavage, all directed by James Goldstone in a frenzied fashion. ~ Michael Betzold, All Movie Guide

The Gravy Train stars Stacy Keach and Frederic Forrest as a husky but none-too-bright pair of West Virginia brothers. Feeling stifled by their blue-collar jobs, the boys become tentatively involved in crime, only to discover that they enjoy working on the wrong side of the law. The moments of extreme violence in this film erupt naturally, not arbitrarily, but still come as a shock to those viewers who've grown to like the sociopathic protagonists. Terence Malick co-wrote the film's seriocomic script under the "nom de plume" of David Whitney. The Gravy Train is better known by its alternate title, The Dion Brothers. ~ Hal Erickson, All Movie Guide

When the police pick up Gator McKlusky (Burt Reynolds) for running moonshine, they agree to let him out of jail if he will help them capture the key figures in his moonshine operation. Since the suspected ring leader is the man who killed Gator's little brother, he agrees to help out the cops to get himself out of prison and get his revenge. ~ Iotis Erlewine, All Movie Guide

"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, Martin Scorsese examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (Cesare Danova) and his desire to live his life like St. Francis, Charlie (Harvey Keitel) takes on his energetically unhinged friend Johnny Boy (Robert De Niro) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (Richard Romanus). Despite his promises to his epileptic girlfriend Teresa (Amy Robinson) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director Francis Ford Coppola transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in The Godfather (1972) and The Godfather Part II (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1983), and Goodfellas (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as Spike Lee and Quentin Tarantino, among many others. ~ Lucia Bozzola, All Movie Guide