Bruce Glover Movies

This is a '90s version of a good old fashioned B monster movie. It is set in a small rural town that is outwardly upright and peaceful and is inwardly rotten to the core. It seems that in its earliest years, the town fathers made a devil's bargain with a wandering warlock to insure good crops and prosperity for the residents. They soon came to regret the deal and decided to murder the magician and bury his bones in a field. The trouble begins in modern times when the hellish bones are inadvertently unearthed thereby freeing the warlock's evil spirit which immediately takes over a scarecrow and goes on an unequaled killing spree. The strawman's handiwork is discovered by young lovers Claire and Dillon. They soon find themselves pursued by the demonic creature, but eventually they knock the stuffing out of him and destroy the evil spirit, but not before more creative murders and mayhem ensue. ~ Sandra Brennan, All Movie Guide

In this off-beat drama set in Canada, a prison decides that the best way to rehabilitate a particularly troublesome prisoner is to chain him to the wheelchair of a rebellious, bad-tempered young man with cerebral palsy. The government rationale behind this is three fold. First it will help a terribly understaffed nursing home. Second, being chained to a handicapped person may inspire caring in the prisoner and third, it could help to toughen up the patients. ~ Sandra Brennan, All Movie Guide

Hider in the House is a well-made and produced but ultimately unsatisfying and formulaic slasher thriller. Tom (Gary Busey) was an abused child who learned to avoid the abuse by hiding under sinks, in closets or anywhere he could be out of sight. After spending 10 years in a mental institution for setting a fire that killed his parents, Tom is released and finds a newly built house where he makes his home in the attic. The house is bought by Julie (Mimi Rogers) and Phil Dryer (Michael McKean) and their children. Tom begins to feel that he is part of the family, but when Phil is unfaithful to Julie, Tom plots his revenge. Busey is compelling in his role and builds Tom's character with skill to show him as both a dangerous and sympathetic psychopath. Unfortunately, the film does not fulfil its potential and slides into a predictable, formula ending, but the skillful direction and the good performance of Busey make this film well-worth viewing. ~ Linda Rasmussen, All Movie Guide

Single mother Maria Bryce (Season Hubley) moves into Cabot Cove with her son Kevin (Jonathan Brandis), where she lands a steady but low-paying job. While struggling to make financial ends meet, Maria must also contend with her lecherous landlord. When the landlord is murdered, Maria is accused of the crime--but her new friend Jessica Fletcher (Angela Lansbury) isn't so sure that the cops have nabbed the guilty party. ~ Hal Erickson, All Movie Guide

This interesting fusion of the horror and Western genres involves a modern-day sheriff (Franc Luz) whose search for a missing heiress leads him into the title locale, a frontier-age Arizona township whose residents are cursed with immortality. He eventually discovers that the abductee (Catherine Hickland) has been spirited off to the lair of an evil black-clad gunslinger (Jimmie F. Skaggs), who sees her as the reincarnation of the dance-hall girl he murdered a hundred years before. Excellent photography by Mac Ahlberg and a gritty Sergio Leone-inspired ambience lend a great deal of quality to this otherwise mundane production from Charles Band's outfit, which is saddled with a weak script that fails to put its unique concept to adequate use. ~ Cavett Binion, All Movie Guide

Hunter's Blood is a bloody action thriller reminiscent of Deliverance or The Hills Have Eyes in which an innocent, peaceful group of people is pitted against a clan of bloodthirsty savages. Five men set out to do some deer hunting in a remote area of Arkansas. David (Sam Bottoms) and his father, Mason (Clu Gulager), experienced hunters, lead a group of city-bred amateur hunters into an area where there have been a series of mysterious disappearances. Soon, they find themselves in danger as they are themselves stalked. While Hunter's Blood is not of the quality of the films that inspired it, the acting is uniformly excellent and the direction by Robert Hughes is fact-paced and exciting. ~ Linda Rasmussen, All Movie Guide

A Chicago cop is wrongly accused of theft and dismissed from the force. In order to clear his name, he goes after the real culprits -- without the extra baggage of police regulations that might have made his task more difficult if he were still active in the department. This script was originally intended for a Dirty Harry vehicle, but was never realized. ~ Kristie Hassen, All Movie Guide

Crashlanding on the Cylon garrison planet Trillion, Starbuck is "rescued" by a group of children -- the only surviving human inhabitants of the planet. It soon develops that the kids comprise a guerilla organization, led by their father. In order to ransom their dad from his Cylon captors, the youngsters are willing to use Starbuck as a bargaining chip. This episode, originally scheduled to air on November 12, 1978, was later combined with the Battlestar Galactica episode "Murder on the Rising Star" and reissued as the two-hour "TV movie" Murder in Space. ~ Hal Erickson, All Movie Guide

Two men from widely opposite spectrums in life are trapped in the same dilemma. Highly respected police detective Dave Lambert (Barry Primus) and seedy informer Art DeVoe (Mills Watson) have both witnessed a cop killing--and the murderer has sent his minions forth to get rid of them both. Featured prominently in the supporting cast is Robert Walden, on the cusp of his stardom as gonzo reporter Rossi on Lou Grant. ~ Hal Erickson, All Movie Guide

Originally titled D.A.'s Investigator, Kiss Me Kill Me stars Stella Stevens as Stella Stafford, "leg woman" for the LA district attorney's office. The case at hand is the murder of a young, highly respected schoolteacher. Stella is certain that she has the killer dead to rights--but this is before she learns the down-and-dirty about the murder victim's secret life. Supporting Ms. Stevens is an impressive guest cast, including Dabney Coleman, Pat O'Brien, Bruce Boxleitner and Robert Vaughn. First telecast May 8, 1976, Kiss Me Kill Me was the pilot for an intended TV series. ~ Hal Erickson, All Movie Guide

A clever murderer manages to dig up a legal loophole that allows him a new trial. Meanwhile, the prosecution's main witness against the criminal turns up dead. Kojak (Telly Savalas) must find the witness' killer and extract a confession before the swaggering defendant is set free for keeps. This episode marks an early TV appearance by Sharon Gless, who at the time was the last remaining contract starlet at Universal Pictures; also seen in a villainous role is Martin Kove, perennial "heavy" in the Karate Kid films of the 1980s. ~ Hal Erickson, All Movie Guide

Tennessee Sheriff Buford Pusser and his trusty club return in this sequel. As with the first, he continues his single handed crusade against organized crime. Violence ensues. ~ Sandra Brennan, All Movie Guide

"You may think you know what you're dealing with, but believe me, you don't," warns water baron Noah Cross (John Huston), when smooth cop-turned-private eye J.J. "Jake" Gittes (Jack Nicholson) starts nosing around Cross's water diversion scheme. That proves to be the ominous lesson of Chinatown, Roman Polanski's critically lauded 1974 revision of 1940s film noir detective movies. In 1930s Los Angeles, "matrimonial work" specialist Gittes is hired by Evelyn Mulwray (Faye Dunaway) to tail her husband, Water Department engineer Hollis Mulwray (Darrell Zwerling). Gittes photographs him in the company of a young blonde and figures the case is closed, only to discover that the real Mrs. Mulwray had nothing to do with hiring Gittes in the first place. When Hollis turns up dead, Gittes decides to investigate further, encountering a shady old-age home, corrupt bureaucrats, angry orange farmers, and a nostril-slicing thug (Polanski) along the way. By the time he confronts Cross, Evelyn's father and Mulwray's former business partner, Jake thinks he knows everything, but an even more sordid truth awaits him. When circumstances force Jake to return to his old beat in Chinatown, he realizes just how impotent he is against the wealthy, depraved Cross. "Forget it, Jake," his old partner tells him. "It's Chinatown." Reworking the somber underpinnings of detective noir along more pessimistic lines, Polanski and screenwriter Robert Towne convey a '70s-inflected critique of capitalist and bureaucratic malevolence in a carefully detailed period piece harkening back to the genre's roots in the 1930s and '40s. Gittes always has a smart comeback like Humphrey Bogart's Sam Spade and Philip Marlowe, but the corruption Gittes finds is too deep for one man to stop. Other noir revisions, such as Robert Altman's The Long Goodbye (1973) and Arthur Penn's Night Moves (1975), also centered on the detective's inefficacy in an uncertain '70s world, but Chinatown's period sheen renders this dilemma at once contemporary and timeless, pointing to larger implications about the effects of corporate rapaciousness on individuals. Polanski and Towne clashed over Chinatown's ending; Polanski won the fight, but Towne won the Oscar for Best Screenplay. Chinatown was nominated for ten other Oscars, including Picture, Director, Actor, Actress, Cinematography, Art Direction, Costumes, and Score. ~ Lucia Bozzola, All Movie Guide