Will Hare Movies

An entertaining hybrid of Amicus-style horror anthology and gritty low-budget western, this first-time effort from writer-director Wayne Coe succeeds where many such genre-bending attempts have failed. The quartet of uneven but well-mounted stories are spun around a desert campfire by grizzled, menacing bounty hunter Morrison (a rousingly hammy James Earl Jones) and wet-behind-the-ears city slicker Farley (Brad Dourif). Morrison starts off with the tale of an Indian tribe's ritual revenge against the drunken cracker who desecrates their sacred burial ground; When Farley seems interested but unfazed, Morrison follows up with the more visceral story of a Good Samaritan who succumbs to temptation while rendering aid to a pregnant woman, leading to a particularly disgusting (though definitely original) demise. Appalled by the storyteller's lack of taste, Farley counters with a down-to-earth morality tale involving a prairie settler's young daughter who witnesses her father's horrifying act of hate, realizing that the man she trusted with her life is a very human breed of monster. Morrison acknowledges his companion's skill but offers another violent story according to his own idiom -- that of a slick gunfighter who gets his comeuppance by his own hand after winning a deadly competition. The stories feature fine acting and direction but are ultimately overshadowed by the engaging framing story and lack much of the dramatic payoff of their earlier British counterparts. ~ Cavett Binion, Rovi

Contemporary high schooler Marty McFly (Michael J. Fox) doesn't have the most pleasant of lives. Browbeaten by his principal at school, Marty must also endure the acrimonious relationship between his nerdy father (Crispin Glover) and his lovely mother (Lea Thompson), who in turn suffer the bullying of middle-aged jerk Biff (Thomas F. Wilson), Marty's dad's supervisor. The one balm in Marty's life is his friendship with eccentric scientist Doc (Christopher Lloyd), who at present is working on a time machine. Accidentally zapped back into the 1950s, Marty inadvertently interferes with the budding romance of his now-teenaged parents. Our hero must now reunite his parents-to-be, lest he cease to exist in the 1980s. It won't be easy, especially with the loutish Biff, now also a teenager, complicating matters. Beyond its dazzling special effects, the best element of Back to the Future is the performance of Michael J. Fox, who finds himself in the quagmire of surviving the white-bread 1950s with a hip 1980s mindset. Back to the Future cemented the box-office bankability of both Fox and the film's director, Robert Zemeckis, who went on to helm two equally exhilarating sequels. ~ Hal Erickson, Rovi

A young woman kills a would-be rapist in self-defense and ends up serving a two year sentence for manslaughter. Once there she is killed by a macho, drug-dealing lesbian gang leader. The death is listed as a suicide, but the victim's sister, Laurie Collins, suspects otherwise and begs the authorities to do a full investigation. They refuse so Laurie, a movie stuntwoman, commits a crime, gets herself sent to the same prison and heads off for revenge. ~ Sandra Brennan, Rovi

The seventh and final season of The Dukes of Hazzard goes "forward into the past", flashing back eight years to reveal how Duke cousins Bo (John Schneider) and Duke (Tom Wopat) came into possession of their precious souped-up Dodge Charger, the "General Lee". Rescuing a battered black vehicle from a junkyard, the boys fix up the car and paint it orange in order to enter a high-stakes race--and hopefully, save Uncle Jesse (Denver Pyle) from being evicted by Boss Hogg (Sorrell Booke). Unfortuantely for everyone concerned, the "General Lee" had a previous life as a getaway car for a particularly vicious gang of gold thieves! Country star Janie Fricke guests in this episode, which was directed by series regular Tom Wopat. ~ Hal Erickson, Rovi

Cannon Productions' first foray into the martial arts milieu, Enter the Ninja stars Franco Nero. While visiting old pal Frank Landers (Alex Courtney) in the Philippines, master ninja Cole (Nero) is approached by villain Charles Venarius (Christopher George). Coveting Lander's plantation, Venarius tries to strong-arm Cole into turning against his friend. Our Hero refuses, whereupon Venarius brings in his own ninja Hasegawa (Sho Kosugi), the first step towards the battle-royal climax. The stunt choreography by Mike Stone is enough to make one completely forget the film's lapses in taste and logic. Enter the Ninja was followed in short order by Revenge of the Ninja. ~ Hal Erickson, Rovi

Adapted from Dennis Potter's landmark British TV miniseries and relocated to the United States during the Depression, Pennies from Heaven dramatizes how popular songs both shaped and reflected the thoughts of people living through economic (and emotional) hardship. Arthur Parker (Steve Martin) is a sheet music salesman who believes that he can spot a hit a mile away and wants to open his own store. But he can't get a bank loan and his wife Joan (Jessica Harper), who has savings left to her by her father, refuses to give him the money. Also, while Arthur has a fierce sexual appetite, Joan generally refuses his advances. While on the road, Arthur meets Eileen (Bernadette Peters), a shy schoolteacher as desperate for affection as Arthur is hungry for sex. They begin an affair, which leads to tragedy for both. Punctuating the drama of Pennies from Heaven are elaborate musical numbers in which the characters lip-synch to popular songs of the day, which at once lift their hopes and reflect their fears. Arthur's buoyant tap number to "My Baby Said Yes" and Eileen's saucy rendition of "Love is Good for Anything That Ails You" are reflections of their needs for money and love, and their pas de deux on "Let's Face the Music and Dance" is at once an escape and an acknowledgement of their hopelessness. ~ Mark Deming, Rovi

Bette Midler stars as Rose in this somber drama loosely based on the life of the late Janis Joplin. She plays an ill-fated singer who succumbs to the pressures of performing by indulging in drugs and alcohol. Her sweetheart Dyer (Frederic Forrest) is the former chauffeur who naively tries to save her from self destruction, while her British manager Rudge (Alan Bates) is ultimately blamed for not preventing her inevitable fall. The story mirrors any one of a number of popular singers who have fallen victim to the excess of success. Midler and Forrest were nominated for Oscars for their performances, with Best Editing laurels given to Timothy O'Meara and Robert Wolf. The Rose was a box office smash and was the plum role that elevated Midler to star status in the eyes of the public and Hollywood. ~ Dan Pavlides, Rovi

Opting for light entertainment after the critical satire of Shampoo (1975), producer-director-writer-star Warren Beatty remade the 1941 comic fantasy Here Comes Mr. Jordan. Dimly amiable L.A. Rams quarterback Joe Pendleton (Beatty) is prematurely called to Heaven by an over-eager escort (Buck Henry, who co-directed) after a traffic accident. When archangel Mr. Jordan (James Mason) discovers the error, he offers to return Joe to his body, only to find that it has been cremated. On the verge of playing in the Super Bowl, Joe demands a fit body rather than the old about-to-be-murdered industrialist Farnsworth he has been offered, but he reconsiders when he sees environmentalist Betty Logan (Julie Christie) in Farnsworth's house. Assuming Farnsworth's body while keeping his sweet self, Joe hires his beloved coach Max Corkle (Jack Warden) to get him in shape (after convincing Max who he really is), sets Farnsworth's business on an eco-friendly path, and romances Betty. Farnsworth's homicidal wife (Dyan Cannon) and secretary (Charles Grodin), however, are still determined to succeed in their plan to kill him. When Mr. Jordan finally finds the Super Bowl body Joe wanted, Joe has to trade his old self for the new life -- but will he remember his love for Betty? Heaven Can Wait offered contemporary yet old-fashioned escapism and tapped into the late-1970s vogue for nostalgic fun, becoming one of 1978's most popular summer movies after Grease. Updating the original while following its blueprint, Beatty and co-writer Elaine May switched Joe's sport and turned Joe into a man of his '70s moment, adoring Betty for her convictions and favoring "green" policies over corporate greed. Gently breathing life into a classic form, Heaven Can Wait found romantic innocence in a jaded time, and it went on to receive nine Oscar nominations, including Best Picture. ~ Lucia Bozzola, Rovi

After being briefly pre-empted by the debut telecast of Roots, Streets of San Francisco returned to the ABC prime time fold with this tense psychological drama focusing on Douglas French (Alan Fudge), a chronic alcoholic and wife-beater. Awakening from a hangover, French discovers that his wife Helen (Marlyn Mason) has disappeared. Unable to remember what happened, French is convinced along with the authorities that he has killed his wife--but the plot thickens when Stone and Robbins discover that the still-missing Helen has been carrying on a double life! ~ Hal Erickson, Rovi

Based on the Pulitzer Prize-winning play by Paul Zindel, this is a joint effort of husband and wife team Joanne Woodward and Paul Newman. Produced and directed by Newman, Woodward portrays the eccentric young widow who is raising her two disparate daughters in an atmosphere of bitterness, hatred and over-protection that threatens their very growth and development. Embittered and misandristic, she raises her daughters in an atmosphere of hate that leaves them as depressed and neurotic as she is. The title of the movie comes from her anger at her daughter's science teacher for encouraging her to expose marigolds to gamma rays as a science project. Her experiment shows how radiation sometimes kills growing marigolds, but sometimes it causes them to grow even more beautiful. This experiment becomes a metaphor for her own life, as she struggles to bloom in a household deadened by her mother's alcoholism and her sister's lethargy. ~ Tana Hobart, Rovi

Director Alfred Hitchcock lets us know from the outset that The Wrong Man is a painfully true story and not one of his customary fabricated suspense yarns, through the simple expedient of walking before the camera and telling us as much (this introductory appearance replaced his planned cameo role as a nightclub patron). The real-life protagonist, musican Christopher Emmanuel Balestrero, is played by Henry Fonda. Happily married and gainfully employed at the Stork Club, Balestrero's life takes a disastrous turn when he goes to an insurance office, hoping to borrow on his wife's (Vera Miles) life insurance policy in order to pay her dental bills. One of the girls in the office spots Balestrero, identifying him as the man who robbed the office a day or so earlier. This, and a few scattered bits of circumstantial evidence, lead to Balestrero's arrest. Though he's absolutely innocent, he can offer no proof of his whereabouts the day of the crime. Lawyer Frank O'Connor (Anthony Quayle) does his best to help his client, but he's up against an indifferent judicial system that isn't set up to benefit the "little man". Meanwhile, Balestrero's wife becomes emotionally unhinged, leading to a complete nervous breakdown. As Balestrero prays in his cell, his image is juxtaposed onto the face of the actual criminal-who looks nothing like the accused man! Utilizing one of his favorite themes-the helplessness of the innocent individual when confronted by the faceless bureaucracy of the Law-Hitchcock weaves a nightmarish tale, all the more frightening because it really happened (the film's best moment: Fonda looking around the nearly empty courtroom during his arraignment, realizing that the rest of the world cares precisely nothing about his inner torment). Hitch enhances the film's versimilitude by shooting in the actual locations where the real story occured. His only concession to Hollywood formula was the half-hearted coda, assuring us that Mrs. Balestrero eventually recovered from her mental collapse (she sure doesn't look any too healthy the last time we see her!) Watch for uncredited appearances by Harry Dean Stanton, Bonnie Franklin, Tuesday Weld and Charles Aidman. ~ Hal Erickson, Rovi