Rod Gist Movies

It has been nearly a year since drug kingpin Bogota was killed in the episode "Love, Hate, and Sporty James", but the million dollars that Bogota had on him when he died is still missing. Hunter (Fred Dryer) and McCall (Stepfanie Kramer) suspect that the money was stolen by street hustler Sporty James (Garret Morris), the man who helped them mete out justice to the drug lord. Trouble is, a bunch of Colombian tough guys also think that Sporty has the dough, and they're willing to kill him to get it back. In an ironic turn of events, Sporty ends up being charged with the murder of one of the Colombians, prompting Hunter to call in a number of favors from the Underworld to find the real trigger man. ~ 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

As if in some way Billy Wilder sensed that Buddy Buddy would ultimately turn out to be his final feature film, Wilder lets loose scatter-shot stingers at a wide range of pop-culture targets -- from sex clinics, to 60 Minutes, to movie references, to disco, to Betamax video recorders. Based on Francis Veber and Edouard Molinaro's L'emmerdeur (known in the United States as A Pain in the A. . .), Buddy Buddy concerns the unlikely pairing of a gruff hitman and a suicidal klutz. Walter Matthau plays a professional killer going by the name of Trabucco, who is on his way to rub out gangster Rudy "Disco" Gambola (Fil Formicola), set to testify against the mob. As Trabucco heads off to a hotel across the street from the courthouse where he plans to set his hit, he runs into the depressed Victor Clooney (Jack Lemmon), who laments the fact that his wife has left him for the head of a weird Californian sex clinic. Trabucco keeps walking and sets up his rifle in a hotel room. He is disturbed by Victor trying to hang himself in the adjoining hotel room and tries to prevent him from killing himself by restraining him, but Victor breaks loose and climbs onto the ledge of the hotel window. To get Victor to come back in, he agrees to drive him to the clinic to see his wife. The two go to the clinic where Victor's wife Celia (Paula Prentiss) informs Victor that she is in love in the head of the clinic, quack Dr. Zuckerbrot (Klaus Kinski). When Victor finds out that Celia is filing for divorce, he heads back to the hotel to kill himself, with Celia and Dr. Zuckerbrot in pursuit. Arriving at the hotel, they plan to inject Victor with a sedative but stick Trabucco with the needle instead. Trabucco reveals to Victor his assignment to kill Rudy, and Victor tries to help him with the killing. ~ Paul Brenner, Rovi

Pop singer Neil Diamond stars in this ill-begotten second remake of Al Jolson's seminal 1927 musical The Jazz Singer. The moth-eaten story concerns a cantor's son who desires success as a pop singer, despite the wishes of his imperious father. The film takes place in the present day with Yussel Rabinowitz (Neil Diamond) playing a young (though middle-aged looking) cantor performing at the synagogue of his father (Laurence Olivier). Yussel is married and has settled down to a life of religious devotion to the teaching of his fath. But on the side, he writes songs for a black singing group, and when a member of the quartet takes ill, Yussel covers for him at one of their gigs by wearing blackface! The nightclub engagement is such a success that Yussel abandons his family -- and his father's synagogue -- and leaves his New York home for Los Angeles, hoping to break into the music business. Almost immediately he is spotted by spunky agent Molly Bell (Lucie Arnaz), who books him as an opening act for a touring comic. Yussel hits it big, but his father resents Yussel's forsaking their traditional Jewish ways. His father disowns him, rending his garments and bellowing, "I hef no son!" ~ Paul Brenner, Rovi

Escaping from her childhood life of poverty and abuse on the farm, in the 1930s, Polly Franklin (Pamela Sue Martin) sets her sights on Hollywood as the promised land and leaves home. However, she doesn't get that far - she lands in Chicago instead. Taking the low-paying jobs which are available to her, she quickly finds herself in a situation which is as oppressive as anything she knew at home. Despite her best efforts to keep her head above water, she soon winds up in prison. The best situation in her life comes afterwards, when she becomes a prostitute in a whorehouse run by Anna Sage (Louise Fletcher). However, even this doesn't last, as the police close down the house during a "decency crusade." Back on the streets once again, she meets a wonderful man (Robert Conrad) who claims to be working for the Board of Trade. She tells Anna (who is still her friend) about this new love in her life, and Anna realizes that he must be America's Most Wanted Man, the bank robber John Dillinger. Anna, in danger of being deported, arranges for the police to corner Dillinger and kill him while in Anna and Polly's company. In the ensuing publicity, everyone makes it look as though Polly was Dillinger's betrayer, and her life becomes even more miserable than it was before. ~ Clarke Fountain, Rovi

Thoroughly worn out from round-the-clock surgery, Charles (David Ogden Stiers) begins to rely heavily on amphetamines. The little pills have a predictably strange effect on Charles' personality, which is none too tolerable to begin with. Even stranger are the drugs' effects on Radar's (Gary Burghoff) pet "racing" mouse Daisy. ~ Hal Erickson, Rovi