Michael Aronin Movies

When an Vietnam War vet falls into a life of murder, drug selling, and illegal arms dealing, the FBI sends out two former Marine buddies to stop him and settle an old score. ~ Iotis Erlewine, Rovi

In this comedy, a wealthy teen convinces a burglar to kidnap him so he can get his family's wayward attention. ~ Kristie Hassen, Rovi

John Travolta and Olivia Newton-John attempt to rekindle the box office sparks of Grease with this screwball fantasy comedy. The tale begins during a golf match in heaven among four angels --Charlie (Charles Durning), Earl (Scatman Crothers), Gonzales (Castulo Guerra), and Ruth (Beatrice Straight)-- who have been in charge of heaven for the last twenty-five years. But their game is interrupted by God (voice of Gene Hackman), who has now returned to the office and doesn't like what he sees down on earth. God wants to order up another flood and start all over again, but the angels persuade God to reconsider, reasoning that if a typical earth man can reform, it would prove that all mankind is capable of it. God agrees to the scheme and the typical man selected is Zack Melon (John Travolta) a failed inventor who, threatened by loan sharks, decides to hold up a bank. Zack points his gun at bank teller Debbie Wylder (Olivia Newton-John) and she gives him all of the money. But when Zack peers into the sack after the robbery, he sees that Debbie has substituted bank deposit slips for the cash and realizes that she has kept the money for herself. Zack tracks her down to reclaim his stolen money and the two fall in love. ~ Paul Brenner, 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