Murray Hamilton Movies

In this 1986 made-for-television sequel to the 1971 film that won George C. Scott his only Academy Award, the acclaimed actor once again portrays General George S. Patton. While the original film dealt exclusively with the legendary military man's life during World War II, this follow-up picks up shortly after that war. After being seriously injured in an automobile accident, Patton lies in a hospital bed at death's door. As a team of doctor's struggle to save the General's life, he flashes back to the early years of his life, recounting his time spent fighting in the first World War. The Last Days of Patton also stars Kathryn Leigh Scott and Daniel Benzali. ~ Matthew Tobey, Rovi

This uneasy mix between a slasher film and a police story focuses on a series of murders in a luxury Manhattan apartment building and the main suspect in the case, an eccentric doorman (Ian McShane). The chief detective sent to unravel the crimes, Lt. Dinardo (Mike Connors) is involved with Kate (Anne Archer), an undercover cop who installs herself in the apartment building to lure the killer into action. This makes the lieutenant particularly interested in the outcome of Kate's ploy. Although potentially prone to high suspense and dramatic turns, the story is not quite as tension-filled (or gory) as its outlines suggest. ~ Eleanor Mannikka, Rovi

In this suspenseful thriller, the happy family life of a married couple is dangerously disrupted by a wicked, seductive baby-sitter who wants their children for her own. She is ready to kill for the privilege and mayhem ensues. ~ Sandra Brennan, Rovi

Remember that controversial participation game of the 1980s called "Dungeons and Dragons"? Remember how sociologists warned us that the game was potentially dangerous to those who couldn't altogether separate fantasy from reality. This is the premise of Mazes and Monsters, a made-for-TV film based on the best-seller by Rona Jaffee. Future Oscar-winner Tom Hanks portrays one of four college students who become so deeply involved in a Mazes & Monsters session that the results may turn fatal at any moment. Despite its potential for silly sensationalism, the film is based on a believable premise, and arrives at a logical conclusion. When first aired December 28, 1982, this Canadian-American production was titled Rona Jaffee's Mazes and Monsters. ~ Hal Erickson, Rovi

David Soul stars in the made-for-TV Swan Song as a former Olympic skiing champ. There is a consensus of opinion that Soul lost the Olympics when he withdrew due to a mysterious, possibly psychosomatic illness. Feeling that he was exploited and misused as an amateur, Soul stages a comeback at age 29, hoping to win the $40,000 Hawaiian Tropic Cup Race. Filmed on location at Sun Valley Idaho, Swan Song features a good performance by Jill Eikenberry as a "ski groupie" and some marvelously photographed downhill sequences. And that's about all there is to recommend Swan Song, which is merely one more of what Judith Crist used to call the "strive and succeed" school of TV movies. One of the three scenarists for Swan Song was future Miami Vice maven Michael Mann. ~ Hal Erickson, Rovi

"Sharon cries out for strength...for hope...for love...." So read the ad copy for the made-for-TV A Last Cry For Help Sharon (Linda Purl) is an outwardly happy, normal high schooler: A-student, cheerleader, popular with everyone. So why is she so determined to commit suicide? Director Hal Sitowitz' penetrating script is at its best when dealing with Sharon's inner turmoil; otherwise, Sitowitz' last-act tendency to proselytize weakens the overall impact. First aired January 19, 1979. ~ Hal Erickson, Rovi

It's December of 1941, and the people of California are in varying states of unease, ranging from a sincere desire to defend the country to virtual blind panic in the wake of the Japanese attack on Pearl Harbor. Thus begin several story threads that comprise the "plot" of this strange period comedy, a sort of satirical disaster movie, from Steven Spielberg. The stories and story threads involve lusty young men, officers (Tim Matheson) and civilians (Bobby Di Cicco) alike, eager to bed the young ladies of their dreams; Wild Bill Kelso, a nutty fighter pilot (John Belushi) following what he thinks is a squadron of Japanese fighters along the California coast; a well-meaning but clumsy tank crew (including John Candy) led by straight-arrow, by-the-book Sgt. Tree (Dan Aykroyd), who doesn't recognize the thug (Treat Williams) in his command; and homeowner Ward Douglas (Ned Beatty), who is eager to do his part for the nation's defense and, despite the misgivings of his wife (Lorraine Gary), doesn't mind his front yard overlooking the ocean being chosen to house a 40 mm anti-aircraft gun. There is also a pair of grotesquely inept airplane spotters (Murray Hamilton, Eddie Deezen) who are doing their job from atop a ferris wheel at a beachfront amusement park; a paranoid army colonel (Warren Oates) positive that the Japanese are infiltrating from the hills; a big dance being held on behalf of servicemen, being attended by a lusty young woman of size (Wendie Jo Sperber) eager to land a man in uniform; and General Joseph "Vinegar Joe" Stillwell (Robert Stack), in charge of the defense of the West Coast, who can't seem to get anyone to listen to him when he says to keep calm. And, oh yes, there's also a real Japanese submarine that has gotten all the way to the California coast under the command of its captain (Toshiro Mifune) and a German officer observer (Christopher Lee), only to find itself without a working compass or usable maps. Its captain won't leave until the sub has attacked a militarily significant, honorable target, and the only one that anyone aboard ship knows of in California is Hollywood. By New Year's Eve, all of these characters are going to cross paths, directly or once-removed, in a comedy of errors and destruction strongly reminiscent of the finale to National Lampoon's Animal House (as well as several disaster movies from the same studio), but on a much larger and more impressive scale. ~ Bruce Eder, Rovi

Despite being a less well-regarded virtual remake of the original film, Jaws 2 earned a tidy sum at the box office by combining its predecessor's winning formula with the popular teen horror craze, helping to spawn the era of blockbuster sequels. Roy Scheider returns as Sheriff Martin Brody, whose small resort town of Amity is poised to bounce back from the economic hardship it encountered after becoming widely known as the site of vicious shark attacks. But at the same time that Mayor Vaughn (Murray Hamilton) is welcoming a real estate developer to Amity, two divers disappear and a party of waterskiers is consumed by a shark. The incidents are explained away as accidents, but Brody knows better, tipping his bullets with cyanide and forbidding his sons Mike (Mark Gruner) and Sean (Marc Gilpin) to participate in a teen sailing regatta. Everyone foolishly chalks up Brody's fears to trauma-induced paranoia, and the regatta goes forward, with a hungry great white trailing the youthful contestants and hungrily picking them off one by one. Director Jeannot Szwarc would later helm another sequel, Supergirl (1984). ~ Karl Williams, Rovi

In this made-for-TV thriller, a group of tourists aboard a cruise ship must be quarantined after they become afflicted with a lethal virus. ~ Jason Ankeny, Rovi

More ambitious and expensive than ABC's first "novel for television" miniseries QB VII, the eight-episode, 12-hour Rich Man, Poor Man was the one that truly put the genre on the map, its phenomenal success in the ratings making possible the even more spectacular Roots. Adapted from the mammoth novel by Irwin Shaw, the miniseries covers the years from WWII to the 1960s, detailing the vacillating fortunes of the immigrant Jordache brothers. "Rich Man" Rudy Jordache (Peter Strauss) is determined to use his hard-earned education -- and his inherent ruthlessness -- to carve out a business and political empire not unlike that enjoyed by Joseph P. Kennedy and his progeny. "Poor Man" Tom Jordache (Nick Nolte), a quick-fisted hothead, goes an entirely different route, first as a professional boxer, then as a functionary of the evil gangster chieftain Falconetti (William Smith). Naturally, both brothers become entangled in romance along the way, with Julie Prescott (Susan Blakely) ending up as Rudy's benighted spouse. Originally telecast on February 1, 2, 9, 16, 23, and March 1, 8, and 15 in 1976, Rich Man, Poor Man earned 20 Emmy nominations and led to a weekly sequel, Rich Man, Poor Man -- Book 2, in the fall of 1976 (this version necessitated a title change for the original, which was rebroadcast as Rich Man, Poor Man -- Book 1 in the spring of 1977). ~ Hal Erickson, Rovi

Paul Newman returns as private detective Lew Harper is this tale of blackmail and murder based on a novel by Ross MacDonald. Iris Devereaux (Joanne Woodward), the wife of a wealthy oilman from Louisiana, hires Harper after she receives a threatening letter. A blackmailer is threatening to tell Iris' husband James (Richard Derr) about a recent extramarital affair; she claims this indiscretion never happened, though she has been unfaithful in the past, and years ago had a brief fling with Harper. Matters become more complicated when Iris' mother-in-law Olivia (Coral Browne) is found murdered. Eventually, Harper traces the blackmail letter to Kilborne (Murray Hamilton), another bayou oil baron, and along the way encounters Schuyler (Melanie Griffith), Iris' young but ripe daughter; Pat Reavis (Andy Robinson), Olivia's former chauffeur and a key suspect in her murder; and Detective Broussard (Tony Franciosa), a police investigator who, like Harper, was once involved with Iris. This was Coral Browne's first film after her marriage to actor Vincent Price in 1974. ~ Mark Deming, Rovi

Murray Hamilton guest stars as Barney Lujack, former partner of SFPD detective Mike Stone (Karl Malden). Barney returns to San Francisco after a long absence, but not for a reunion with his old pal Mike. Instead, Lujack intends to kill the hired gun (Burr DeBanning) who murdered his son--and he isn't about to let anyone, not even Mike, get in his way. Featured in the supporting cast is onetime child actor Tommy Cook. ~ Hal Erickson, Rovi

"Gorgeous goyish guy" meets Jewish radical girl in Sydney Pollack's glossy romance. In 1937, frizzy-haired Red co-ed Katie Morosky (Barbra Streisand) briefly captures the attention of preppy jock Hubbell Gardiner (Robert Redford) with her passionate pacifism, while the writing talent beneath his privileged exterior entrances her. Almost eight years later, the two are reunited in New York, when well-coiffed leftist radio worker Katie spies military officer Hubbell snoozing in a nightclub. Through her force of will, and in spite of his smug rich friends, the two opposites fall in love, sparring over Katie's activist zeal and Hubbell's writerly ambivalence after a failed first novel. They head to Hollywood so that Hubbell can write a screenplay for his buddy-turned-producer J.J. (Bradford Dillman). But the House Committee on Un-American Activities' Communist witch hunt in 1947 tears the pair apart, as a pregnant Katie refuses to keep silent about the jailing of the Hollywood Ten, while a faithless Hubbell decides to save his career. When the two meet again at the dawn of the '60s, TV hack Hubbell and A-bomb protestor Katie feel the old pull, but they have to decide if it's worth the grief. Although blacklisted writers had returned to Hollywood -- and won Oscars -- by the early 1970s, the HUAC sections of Arthur Laurents's screenplay were still considered dicey, resulting in substantial cuts; Laurents reportedly blamed star Redford for not fighting them hard enough. Regardless of the edits, and critics' complaints about the film's schlockiness, 1973 audiences went for the well-executed and still politically tinged weepie, turning The Way We Were into one of the most popular films of 1973 and Redford into a major heartthrob. Streisand won an Oscar nomination for Best Actress and the Streisand-sung title tune won for Best Song. Despite the eviscerated politics, The Way We Were poignantly captures the insoluble dilemma of reconciling private desires with public awareness. ~ Lucia Bozzola, Rovi