Jay Fletcher Movies

After emigrating to the United States in 1969, Czech-born director Ivan Passer finally broke through to American audiences with his fourth film, a unique blend of mystery and social commentary. Cutter's Way is set in Santa Barbara, CA, a community of wealth and power. Its main characters, however, are among the town's have-nots: Richard Bone Jeff Bridges, a beach-boy gigolo starting to go to seed; Bone's best friend Alex Cutter (John Heard), a Vietnam veteran maimed in body and spirit; and Mo (Lisa Eichorn), Cutter's alcoholic wife. When Cutter spots one of the community's most prominent citizens in the act of covering up a murder, Bone insists that the police would never take their word over that of a man of wealth and prestige. Cutter seizes the opportunity to blackmail the killer, as a means of striking back at a system he thinks sent him off to an unjust war and ruined his life. The film was fortunate to fall into the hands of United Artists Classics, a new division of the company crippled by the financial disaster of Heaven's Gate. UA Classics adroitly marketed Cutter's Way, riding a wave of rave reviews and good word-of-mouth among more discriminating filmgoers to modest box-office success. ~ Tom Wiener, All Movie Guide

This sleazy exploitation feature from director Robert Kelljan (Count Yorga, Vampire) is more noteworthy for its cast than its content. The plot concerns a group of five women who learn martial arts and team up to avenge their violations by a rapist (Peter Brown) who forced them to sing Jingle Bells while molesting them. Caligula's Anneka di Lorenzo, Richard Pryor's ex-wife Jennifer Lee, and Hullabaloo dancer Lada Edmund, Jr. co-star in this drive-in favorite, also released as Act of Vengeance. ~ Robert Firsching, All Movie Guide

Fed up with an escalating crime rate and an increasingly ineffective police force, blue-collar New Yorkers Willie and Cy (Carroll O'Connor and Ernest Borgnine) join a citizen's vigilante group. Their efforts to act as an auxiliary police force are comically inept, but director Ivan Passer lulls us into laughter only to catch us unprepared when he wants to play things in dead seriousness. After finally proving their worth as after-hours cops, Willie and Cy are euphoric; this lasts just long enough for Cy to be killed. Constantly changing its tone and point of view, Law and Disorder struck just the right nihilistic note in the 1970s. Modern viewers may not be quite as responsive, though many will cheer Willie's final act of defiance against the Big Apple. ~ Hal Erickson, All Movie Guide