Brian Avery Movies

There's a rumor that the MGM executive who thought that Glenn Ford could fill Rudolph Valentino's shoes in the 1962 remake of Valentino's Four Horsemen of the Apocalypse would have been arrested had it been sufficiently proven that he was competent to stand trial. The World War I setting of the original Blasco-Ibanez novel has been updated to World War II, but the basic plot remains the same. A well-to-do Argentinian family, rent asunder by the death of patriarch Lee J. Cobb, scatters to different European countries in the late 1930s. Before expiring, Cobb had warned his nephew Carl Boehm that the latter's allegiance to the Nazis would bring down the wrath of the titular Four Horsemen: War, Conquest, Famine and Death. Ford, Cobb's grandson, has promised to honor his grandfather's memory by thwarting the plans of Boehm. At the cost of his own life, Ford leads allied bombers to Boehm's Normandy headquarters. As unsuited as Glenn Ford was for his role, co-star Ingrid Thulin was even worse: her Swedish accent proved so impenetrable that MGM was obliged to have Angela Lansbury dub Ms. Thulin's voice. A major misfire for director Vincente Minnelli, The Four Horseman of the Apocalypse was an expensive flop, forcing MGM to hope and pray that their upcoming epic How the West Was Won would save the studio's hindquarters (it did). ~ Hal Erickson, All Movie Guide

"Just one word: plastic." "Are you here for an affair?" These lines and others became cultural touchstones, as 1960s youth rebellion seeped into the California upper middle-class in Mike Nichols' landmark hit. Mentally adrift the summer after graduating from college, suburbanite Benjamin Braddock (Dustin Hoffman) would rather float in his parents' pool than follow adult advice about his future. But the exhortation of family friend Mr. Robinson (Murray Hamilton) to seize every possible opportunity inspires Ben to accept an offer of sex from icily feline Mrs. Robinson (Anne Bancroft). The affair and the pool are all well and good until Ben is pushed to go out with the Robinsons' daughter Elaine (Katharine Ross) and he falls in love with her. Mrs. Robinson sabotages the relationship and an understandably disgusted Elaine runs back to college. Determined not to let Elaine get away, Ben follows her to school and then disrupts her family-sanctioned wedding. None too happy about her pre-determined destiny, Elaine flees with Ben -- but to what? Directing his second feature film after Who's Afraid of Virginia Woolf?, Nichols matched the story's satire of suffocating middle-class shallowness with an anti-Hollywood style influenced by the then-voguish French New Wave. Using odd angles, jittery editing, and evocative widescreen photography, Nichols welded a hip New Wave style and a generation-gap theme to a fairly traditional screwball comedy script by Buck Henry and Calder Willingham from Charles Webb's novel. Adding to the European art film sensibility, the movie offers an unsettling and ambiguous ending with no firm closure. And rather than Robert Redford, Nichols opted for a less glamorous unknown for the pivotal role of Ben, turning Hoffman into a star and opening the door for unconventional leading men throughout the 1970s. With a pop-song score written by Paul Simon and performed by Simon & Garfunkel bolstering its contemporary appeal, The Graduate opened to rave reviews in December 1967 and surpassed all commercial expectations. It became the top-grossing film of 1968 and was nominated for seven Oscars, including Best Picture, Actor, and Actress, with Nichols winning Best Director. Together with Bonnie and Clyde, it stands as one of the most influential films of the late '60s, as its mordant dissection of the generation gap helped lead the way to the youth-oriented Hollywood artistic "renaissance" of the early '70s. ~ Lucia Bozzola, All Movie Guide

After coming across a corpse stuffed in a sack and deposited in a park, Sgt. Ed Brown (Don Galloway) notifies the homicide division. When the cops arrive, the sack is still there--but the corpse is gone. Embarrassed by the taunts of rival cop Larry Muller (Warren Berlinger), Ed dedicates himself to proving that the body really existed, even though Ironside (Raymond Burr) demands that he devote his attention to a kidnapping case. Inevitably, it turns out that both cases share a common link. ~ Hal Erickson, All Movie Guide

Produced by Dan "Dark Shadows" Curtis, this TV adaptation of Mary Shelley's classic spine-chiller Frankenstein remains fairly faithful to its source. Robert Foxworth stars as Dr. Victor Frankenstein, who comes to grief when he "plays God" by creating a human being from spare body parts. The monster, played by Bo Svenson, is doomed from the start, not only by fate but by his inherited homicidal nature. Susan Strasberg and Heidi Vaughn co-star as the two unfortunate women in Dr. Frankenstein's life. Originally telecast in two parts on ABC's late-night Wide World of Mystery anthology, Frankenstein debuted January 16 and 17, 1973. It was later pared down to a traditional two-hour, single-part TV movie. ~ Hal Erickson, All Movie Guide

In this provocative drama, an auto repairman compensates for his deafness with an ingenious computer which allows him to both speak and hear. He created the device himself and shows it to his speech therapist who enthusiastically suggests he try to get the machine manufactured. The mechanic goes to the computer salesman the therapist recommended. The self-serving salesman then exploits the hapless inventor. ~ Sandra Brennan, All Movie Guide

Jessica (Angela Lansbury) arrives in San Francisco to attend the wedding of her niece Victoria Brandon (Genie Francis) to a handsome but rather secretive young man named Howard Griffin (Jeff Conaway). Her first meeting with Howard occurs under strange circumstances, as he scrambles over her table at a nightclub, dressed in female drag--after having stumbled across the body of club owner Al Drake (Martin Landau). Naturally, Howard is accused of the murder, obliging Jessica to investigate the situation herself. ~ Hal Erickson, All Movie Guide

When two rival groups of surfers face off on a Southern California beach prior to a big surfing contest, things get a little tense. However, when surfer Nick Rainwood (Richard Joseph Paul) meets up with a pretty girl, Allie (Danielle Von Zerneck), the two start off a romance, in spite of the fact that they belong to opposing sides of the surfing feud. ~ Iotis Erlewine, All Movie Guide

An uneven but entertaining blend of graphic horror and black comedy from John Landis, very much in the mode of the director's successful An American Werewolf in London. French actress Anne Parillaud -- star of Luc Besson's acclaimed thriller La Femme Nikita -- plays Marie, a lithe and lovely vampire with a conscience who will not take "innocent blood" and maintains a low profile by dining exclusively on criminals and lowlifes. She finds a virtual smorgasbord in Pittsburgh's criminal underworld, arriving in the thick of a bloody mob war sparked by ruthless kingpin Sal Macelli (Robert Loggia). After preying on one of Macelli's hoods (Chazz Palminteri), Marie fumbles her attack on the boss himself and he manages to escape, eventually transforming into a vampire himself. Macelli soon comes to appreciate his new superhuman condition and hatches a diabolical scheme to control the syndicates by turning his underlings into vampires -- including his beleaguered lawyer, Emmanuel Bergman (Don Rickles). Marie, faced with a new and powerful undead enemy, is forced to take matters into her own claws. To this end she enlists the reluctant aid (and eventual affection) of undercover cop Joe Gennaro (Anthony LaPaglia), whose cover has just been leaked to the press, making him a target for Macelli and his growing army of blood drinkers. Landis has crafted a dark and brooding film, pumped up with bouts of extreme gore and gangland violence -- but where American Werewolf's occasional comic touches helped to ground the story and give the "straight" horror scenes more punch, most attempts at humor here seem jarring and out of place. The film's highlights come from numerous horror in-jokes, including cameos from Sam Raimi, Clive Barker, Dario Argento and Linnea Quigley; Rickles' explosive death scene ranks among the weirdest in cinema history. ~ Cavett Binion, All Movie Guide

Stunt man Corey Michael Eubanks plays a repo man in Forced to Kill. While claiming a Jaguar, Johnny (Eubanks) is captured by a strange family. Before long, he's in the thick of a subrosa boxing tournament, where bare fists are de rigeur and the participants are obliged to kill one another. A question: if Eubanks is such a crackerjack stunt man, how'd he allow himself to get into this mess? (and he wrote the script, too!) Check your brains at the door: the action is terrific. The supporting cast of Forced to Kill includes filmmaker Ron Howard's father Rance and brother Clint. ~ Hal Erickson, All Movie Guide

Sarah Kernochan wrote and directed this nostalgic coming-of-age comedy-drama with some autobiographical touches. In 1963, budgetary problems at the East Coast boarding school Miss Godard's School for Girls, prompt a merger with a boy's academy. The girls are stunned at the prospect of going co-ed and devise a campaign to sabotage the plan. Screenwriter Kernochan, scripter of Sommersby and 9 1/2 Weeks, won an Oscar when she co-directed the 1972 documentary Marjoe, but this film marks her feature directorial debut creating comedy-drama. The upstate New York seen here is actually Toronto. The title created some confusion, since Kernochan's film received reviews the same month the 1998 New York Film Festival unspooled a new 35mm print of Sergei Eisenstein's silent classic Strike (1924). ~ Bhob Stewart, All Movie Guide

Wes Craven's Scream (1996) was a half-parody/half-tribute to the first wave of slasher films of the 1970s and 1980s, and since most of them spawned a large number of sequels, it's only appropriate that Craven and screenwriter Kevin Williamson produced a third installment of their Scream franchise. Sidney Prescott (Neve Campbell), traumatized by the brutal murders of her friends, has left her hometown of Woodsboro and is working in California as a crisis intervention counselor. Meanwhile, "Stab," the novel by Gale Weathers (Courtney Cox Arquette), is spawning a series of successful horror films, and as Stab 3: Return to Woodsboro is being filmed in Los Angeles, a lunatic has gotten his hands on a copy of the script, and is murdering the characters in the same order that they die in the movie. But predicting who will die next is not as simple as it might seem, since the producers have circulated three different screenplays, with different endings. In addition to Campbell and Cox-Arquette, David Arquette returns from the first two films as less-than-bright "Dewey" Riley; new members of the cast include Parker Posey, Patrick Dempsey, Scott Foley, and Jenny McCarthy. Kevin Williamson wrote the original story, but the screenplay was penned by Ehren Kruger. ~ Mark Deming, All Movie Guide

Standup comedian turned director Chris Ver Weil makes his debut with this wild and woolly romantic comedy cum noir crime thriller. The film centers on Trevor Finch (Christian Slater), a master counterfeiter and career con who learns that he has a price on his head from mob hitman Critical Jim (Tim Allen). The reason turns out to be a wacky case of mistaken identity -- Finch has assumed the name Cletis Tout, a sleazy, long-dead French muckraker with, it turns out, a criminal history himself. Rewind to 1977, when Micah (Richard Dreyfuss) pulls off a massive diamond heist and buries his booty in a field with the help of his young daughter Tess. Five presidential administrations later, Micah and his cellmate Finch bust out of prison, only to learn from the now-grown Tess (Portia de Rossi) that the diamonds are behind the walls of another newly built prison. Meanwhile, sparks begin to fly between Tess and Finch. This film was screened at the 2001 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

James Mangold's Walk the Line tells the life story of country music legend Johnny Cash (Joaquin Phoenix), focusing primarily on the long courtship he had with June Carter (Reese Witherspoon). The film is structured as an extended flashback opening with Cash readying to take the stage at his historic Folsom Prison Concert. The film touches on his childhood, relating a horrific early incident from his life and establishing the troubled relationship he would have with his father (Robert Patrick). Cash joins the military and leaves home. During his time in the armed services he begins writing songs and romances a hometown girl (Ginnifer Goodwin). After the end of his duty he settles down and attempts to begin a music career, but his wife has trouble adjusting to his dreams. Cash auditions for Sam Phillips (Dallas Roberts), signs to Sun Records, and soon finds himself on tour with a roster of young soon-to-be legends that includes Elvis Presley (Tyler Hilton) and Jerry Lee Lewis (Waylon Malloy Payne). On this tour he meets June Carter, the daughter of the famous Carter family, and they take a liking to each other, although she refuses any serious advances from him. Cash gains world-wide fame thanks in part to the inspiration he gets from June, but eventually his marriage crumbles and he develops a serious drug addiction. The film is based on Cash's autobiographies. Phoenix and Witherspoon performed all of their own singing in the movie, just as Sissy Spacek and Beverly D'Angelo did in Coal Miner's Daughter a quarter-century before. ~ Perry Seibert, All Movie Guide