John Phillips Movies

After years of suffering through lookalike MGM musicals (at least, that was his complaint), Howard Keel was able to sink his teeth into a dramatic role in the British Floods of Fear. Serving a life term for murder, Donavan (Howard Keel) breaks out of jail with sadistic convict Peebles (Cyril Cusack), taking along a wounded guard (Harry H. Corbett) as hostage. It is Donavan's intention to exact revenge against the man who framed him, but this will have to wait: a driving rainstorm is threatening to precipitate a raging flood. Taking refuge in the tiny house owned by the terror-stricken Elizabeth (Anne Heywood), the convicts and their captives nervously wait out the storm. Slowly, Elizabeth and Donavan are drawn to one another, while Peebles threatens to erupt into a fit of homicidal rage at any moment. When the flood reaches the danger level, Donavan performs several self-sacrificial acts of courage, prompting Elizabeth to try to save him from ruining what's left of his life. ~ Hal Erickson, Rovi

Like many American International films of its era, How to Make a Monster was sold to distributors on the basis of its title alone: only after theatrical play dates had been established did anyone get around to writing a script! Robert H. Harris plays Pete Drummond, who according to the script has been chief makeup man at American-International for 25 years, or approximately 20 years before the studio was actually established. When the studio is sold, Pete is brusquely informed that neither he nor his monster creations -- notably the Teenage Werewolf and Teenage Frankenstein -- will be required any longer, inasmuch as American International is going to concentrate on musicals from now on. Angered and humiliated, Pete takes revenge on the callous studio heads by hypnotizing a couple of actors (Gary Clarke and Gary Conway) into believing that they're genuine monsters. Under Pete's control, the two thespians begin committing murders left and right, wreaking havoc throughout the American International lot. ~ Hal Erickson, Rovi

Based on a best-selling Australian novel by D'Arcy Niland, The Shiralee stars Peter Finch as an Aussie "swagman," or poacher, saddled with a faithless wife (Elizabeth Sellars). Concerned over the well-being of his young daughter (Dana Wilson), Finch takes her out of her hostile environment and hits the road. Against the breathtaking landscapes and panoramas of the Outback, Father and Daughter grow to love and understand one another on a deeper and more profound level than ever before. The storyline rambles more than does Peter Finch, but the relationship between the two main characters holds the film together. The Shiralee was remade as an Australian TV miniseries in 1989. ~ Hal Erickson, Rovi

Ben Stride (Randolph Scott, in a role originally slated for John Wayne) trudges stoically through the West, hunting down the seven men responsible for the murder of his wife in a Wells Fargo station holdup. As the film opens, we see him dispatching two of the miscreants during a driving rainstorm. Though the victims are deserving of their fate, the script is careful to detail the moral deterioration of Scott, who'd quit his sheriff's job to go on this unauthorized death hunt. Also turning up is Bill Master (Lee Marvin), not one of the bandits per se but actually a villain from Stride's past who happens upon the situation and sees a chance to make off with some loot. This film marked one of the few Randolph Scott/Budd Boetticher collaborations not released by Columbia Pictures. ~ Hal Erickson, Rovi

In this thriller, a mentally unstable ex-GI escapes from the mental ward and goes searching for his ex-wife who only recently divorced him. The man is not dangerous; he just wants to talk to her. Meanwhile the woman is murdered by her lover, a married man, because she is pregnant with his child. The fugitive soldier is framed for the murder. He escapes, finds the real killer and gets his revenge. Fortunately, a clever police lieutenant also figures out the murderer's identity and gets there in time to save the soldier from killing him. ~ Sandra Brennan, Rovi

Laurence Olivier was the director, co-screenwriter (with Alan Dent), and star of this robust adaptation of Shakespeare's drama, which, as Bruce Eder has written, "was the final, crowning glory of the British studio system and the end of the great cycle of British films aimed at international audiences." Olivier begins his Richard III with Edward IV (Cedric Hardwicke) being crowned king. In the background of the celebration, Richard (Laurence Olivier) jealously views the proceedings and begins to pick off those obstructing his pathway to the throne. Eventually, Richard becomes king and, after proceeding with a succession of intrigues and duplicities, he finds his kingdom in dire peril, set upon by Henry Tudor (Stanley Baker) and mustering a final defense for his realm at the Battle of Bosworth. ~ Paul Brenner, Rovi

Rock Hudson stars in Seminole as 19th-century army officer Lance Caldwell. Born and raised in Florida, Caldwell is assigned to Fort King in the Everglades. Immediately clashing with his commanding officer Major Dade (Richard Carlson), Caldwell opposes Dade's plans to wipe out the Seminole Indians. The fact that Caldwell was the boyhood chum of Seminole chief Osceola (Anthony Quinn) is all the more reason to resist Dade's genocidal policies. After a deadly confrontation which costs dozens of lives on both sides, Osceola rescues Caldwell, whereupon the latter is court-martialed. Later on, Osceola comes to Fort King to talk peace, and is promptly killed by persons unknown. An attempt is made to frame Caldwell for the killing, but the truth eventually prevails. In the tradition of Broken Arrow, Seminole is essentially sympathetic to the Indian's point of view. Co-starring in the film are Barbara Hale as the requisite heroine and Lee Marvin as a surly sergeant. ~ Hal Erickson, Rovi

The Kefauver Committee's ongoing investigation of organized crime spawned several "Torn from Today's Headlines!" films in the early 1950s. Republic's Hoodlum Empire concerns the efforts by gangster Joe Gray (John Russell) to get out of the rackets after WW II. Part of Gray's "reclamation" is to testify at a public hearing, prompting a series of flashbacks. Part of the fun is to guess who all the "fictional" criminals are really supposed to be: Luther Adler's character may be called "Nicky Mancini," for example, but for all intents and purposes Adler is playing Frank "Fifth Amendment" Costello. Other famous underworld personages are impersonated by Claire Trevor, Forrest Tucker and Roy Barcroft, while the steadfast Estes Kefauver counterpart is portrayed by Brian Donlevy. ~ Hal Erickson, Rovi

If ever there was an actor born to play Billy the Kid, it was the combustible Audie Murphy. In Kid from Texas, Murphy is cast as a relatively benign Billy. Hoping to put down his guns and go straight, the Kid takes a job as a ranchhand. When his kindly boss is murdered, however, all bets are off, and Billy goes on a killing spree. By the time he's reached the age of 21, he's killed 21 men -- and that's when sheriff Pat Garrett (Frank Wilcox) enters the scene. There's no romance to speak of, though Billy does develop a fondness for Irene Kain (Gale Storm), the wife of fair-minded attorney (Albert Dekker). While Kid from Texas scores as a character study (albeit none too accurate), it falls surprisingly short in terms of action content. ~ Hal Erickson, Rovi

The Dore Schary regime at MGM brought a much-needed dose of stark realism to the venerable studio. Van Johnson sheds his boy-next-door image to play L.A. plainclothes lieutenant Mike Conovan. Determined to bring a cop killer to justice, Conovan will let no man stand in his way -- not even his level-headed superiors. The detective's single-purposed pursuit causes a rift in his marriage to wife Gloria (Arlene Dahl). The film comes very close to the Dragnet school of unadorned, unglamorized police procedure: it adheres to standard MGM formula only in the final reconciliation scene. Officially a Harry Rapf production, Scene of the Crime was completed by another producer when Rapf died during filming. ~ Hal Erickson, Rovi

Richard Brooks and John Huston's screenplay for Huston's Key Largo eschews the lofty blank verse of Maxwell Anderson's original play, concentrating instead on the simmering tensions among the many characters. Humphrey Bogart plays Frank McCloud, an embittered war veteran who travels to Key Largo in Florida, there to meet Nora Temple (Lauren Bacall), the wife of his deceased war buddy. Arriving at a tumbledown hotel managed by Nora's father-in-law James Temple (Lionel Barrymore), McCloud discovers that the establishment has been taken over by exiled gangster Johnny Rocco (Edward G. Robinson) and what's left of his mob. Also in attendance is Gaye Dawn (Claire Trevor), Rocco's alcoholic girlfriend. While the others bristle at the thought of being held at bay by the gangsters, the disillusioned McCloud refuses to get involved: "One Rocco more or less isn't worth dying for." As he awaits a contact who is bringing him enough money to skip the country, Rocco is responsible for the deaths of a deputy sheriff and two local Indian youth. Unwilling to take a stand before these tragedies, McCloud finally comes to realize that Rocco is a beast who must be destroyed. To save the others from harm, McCloud agrees to pilot Rocco's boat to Cuba through the storm-tossed waters. Just before McCloud leaves, Gaye Dawn slips him a gun -- which leads to the deadly final confrontation between McCloud and Rocco. His resolve to go on living renewed by this cathartic experience, McCloud heads back to Nora, with whom he's fallen in love. Claire Trevor's virtuoso performance as a besotted ex-nightclub singer won her an Academy Award -- as predicted by her admiring fellow actors, who watched her go through several very difficult scenes in long, uninterrupted takes. While Key Largo sags a bit during its more verbose passages, on a visual level the film is one of the best and most evocative examples of the "film noir" school. ~ Hal Erickson, Rovi

In the tradition of several of the Gene Autry vehicles of the 1930s, Roy Rogers' Helldorado is built around a real-life frontier celebration. In this instance, the story is set against the backdrop of Las Vegas' annual "Heldorado Week", at which time the Old West came to life in the form of costumed revellers, equine parades and pre-rehearsed stagecoach holdups and bank robberies. Arriving in Las Vegas to participate in the festivities, Roy Rogers ends up crossing six-guns with a gang of gamblers who've been delinquent in their income tax. Gee, if Roy had stuck around a bit longer, he could have shot it out with Bugsy Siegel (or Bugsy's Godfather counterpart Moe Green!) Rogers' perennial costar (and later wife) Dale Evans costars as a female sleuth who gets in over her head when she tries to capture the gamblers herself. ~ Hal Erickson, Rovi