Ken Foree Movies

The mother of the title is played by Meredith Baxter. Her daughter (Carrie Hamilton) is raped by an unknown assailant who leaves no tangible clues behind. Obsessed with bringing the rapist out in the open, Ms. Baxter sets herself up as a potential assault victim. Farfetched though it sounds, A Mother's Justice was based on an actual case that occurred in Portland, Oregon. This TV movie had the rotten luck to be scheduled opposite Monday Night Football and a CBS M*A*S*H retrospective when it was first telecast on November 25, 1991. ~ Hal Erickson, Rovi

Babylon 5 plays reluctant host to 25,000 ground-pounding Earth troops, who, acting under secret orders, have been assigned to snuff out a rebellion. Exacerbating an already unpleasant situation is the fact that the troop's leader (Paul Winfield) is Dr. Franklin's long-estranged father. The title of this episode refers to a vindictive alien race, from whom Delenn can expect no good. Written by Lawrence G. DiTillio, "Gropos" was originally broadcast on February 8, 1995. ~ Hal Erickson, Rovi

Horror icons Gunnar Hansen (The Texas Chainsaw Massacre), David Naughton (An American Werewolf in London), Ellen Sandweiss (The Evil Dead), and Ken Foree (Dawn of the Dead) star alongside Clerks' Brian O'Halloran and The 40 Year Old Virgin's Gerry Bednob in this blood-spattered comedy about a failed genre filmmaker seeking to craft his one true classic before funding finally falls through. ~ Jason Buchanan, Rovi

This action movie chronicles the exciting exploits of a crack crime fighting force. They are notorious for their unusual tactics when dealing with criminals. ~ Sandra Brennan, Rovi

Director George A. Romero's epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 -- ten years after the first films' release -- Dawn's story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city -- seeking warm human flesh for food -- the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film's most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station's floor manager, Stephen's girlfriend Frances (Gaylen Ross). Together they steal the station's helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer's paradise... but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero's excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: "It's some kind of instinct," Stephen comments, observing the zombies' attraction to the mall; "This was an important place in their lives." Despite the glimmer of hope offered by the film's closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn's outlook for humanity: "We're not gonna make it, are we?" Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a "Director's Cut" with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed. ~ Cavett Binion, Rovi

A pleasure-seeking group of twenty-somethings enter a strip club with no cover charge, only to discover that the satanic establishment requires them to check their souls at the door in a terrifying tale of diabolical lap-dances starring Final Destination's Devon Sawa. Though the dancers at the club may be out of this world, there's a very good reason for their exotic and irresistible features. Now, in order to make it through the night alive, the gentlemen in this club will have to do battle with a hideous horde of blood-drinking she-demons whose power is drawn directly from the lord of the underworld. X2 star Kelly Hu and horror legend Ken Foree co-star in Leatherface: Texas Chainsaw Massacre 3 director Jeff Burr's slick and sexy strip joint shocker. ~ Jason Buchanan, Rovi

In this comedy, defense lawyer Vic Scalia (Andrew Stevens) teams up with the criminals he defends in order to pull off a lucrative robbery. However, Scalia's accomplices are less-than-honorable as they backstab and steal from each other on the way to deliver the loot. ~ Iotis Erlewine, Rovi

TV movies dealing with Elvis Presley are always good for a few vital extra rating points, and Elvis and the Beauty Queen was no exception to this rule. The King, here played by Don Johnson, is first seen here at the age of 37. Elvis falls in love with 21-year-old Miss Universe contestant Linda Thompson (Stephanie Zimbalist), and the two stay together for five years, remaining as close as it's possible to be a world populated of managers, gophers and sycophants. Linda tries to wean Presley off drugs, but you and I and everyone in the universe knows how that turned out. There's nothing here that hasn't already been trampled to death by the tabloids, but diehard Elvis fanatics will be satisfied. Three surprises: Elvis and the Beauty Queen was not telecast on Elvis' birthday; it wasn't telecast on the anniversary of his death; and it premiered in March of 1981, several weeks after the February "sweeps". ~ Hal Erickson, Rovi

Donny B. Lord and Victor Love share the title role in Final Shot: The Hank Gathers Story. The film traces the true story of young Gathers, played by Lord as a child and Love as an adult. Rising from his inner-city origins to become a basketball star at Loyola Marymount, Gathers' career is suddenly, and tragically, cut short. Co-starring are Nell Carter as Hank's supportive mother and George Kennedy as the inspirational neighborhood priest. Made for television, Final Shot was first seen in syndication during the week of March 29-April 4, 1992. ~ Hal Erickson, Rovi

Glitz was a disappointment for fans of the Elmore Leonard novel on which it was based. Jimmy Smits stars as a savvy Miami police detective Vincent Mora, who is wounded in a shoot-out. Convalescing in Puerto Rico, Mora falls in love with a beautiful woman who later dies under suspicious circumstances. Unable to pursue the case officially, Mora conducts a private investigation of the case. Along the way, he makes the acquaintance of a sprightly lounge singer (Markie Post) and a seriously disturbed ex-con (John Diehl). To many viewers, the title was appropriate: Glitz was plenty of style with little substance. The film was first telecast October 21, 1988. ~ Hal Erickson, Rovi

This Peter Maris action begins at New Mexico State Penitentiary, where a spew of toxic gas from the crash of a tanker truck leads to the evacuation of the prison by the warden (George Kennedy). In the ensuing confusion, anti-social cons Kuttner (Lee De Broux) and Patch (James Tolkan) kidnap prison psychologist Maria Slayton (Kim Delaney) and hit the road with a bus full of prisoners. The group first heads for Mexico but decides instead to take over the town of Sonora and hold its citizens as hostages. The National Guard sends in a state police lieutenant (Yaphet Kotto) and his tough-as-nails Lieutenant Colonel Johnson (Jan-Michael Vincent) to handle the situation. But the National Guard's ineffectual methods leave the situation more volatile than it was before. It is left to two citizens of Sonora -- sheriff Ike Slayton (Brad Davis) and his army pal Bill (Ken Foree) -- to take matters into their own hands and save the town from the kill-crazy prisoners. ~ Paul Brenner, Rovi

In the first episode of a two-part story, McCall (Stepfanie Kramer) teams up with her retired mentor, former police officer Andy Polanski (Claude Akins), to track down Frank Lassiter (Richard Lynch), the fugitive head of the neo-Nazi Aryan Legion. On the verge of finding out who provided inside information for an armored car robbery committed by Lassiter, Polanski is slapped with an obstruction-of-justice charge. This, coupled with Andy's profound loneliness, pushes the veteran cop off the deep end--and in the wake of the tragedy which ensues, McCall quits the force. ~ Hal Erickson, Rovi

Popular African-American comedian Jo Jo Dancer is severely burned while free-basing cocaine. Producer/director/writer Richard Pryor insists that the movie is not autobiographical. While hovering between life and death, Dancer flashes back to his childhood, when he grew up in a brothel. Producer/director/writer Richard Pryor insists that the movie is not autobiographical. Dancer decides to become a comic, but has a great many difficulties rising to stardom until he begins making scatological comments about race relations. Producer/director/writer Richard Pryor insists that the movie is not autobiographical. As he rises to fame, Jo Jo has problems controlling his drug addiction and womanizing. Producer/director/writer Richard Pryor insists.....Well, you've caught on by now. If one were able to excise the excruciatingly boring "introspection" scene, Jo Jo Dancer, Your Life is Calling would stand as an excellent testimonial to Richard Pryor's cutting-edge comic brilliance. ~ Hal Erickson, Rovi