Alan Haufrect Movies

Bette Midler stars as a Martha Raye-type entertainer during the World War II era in this big-budget nostalgia piece. Midler plays big-band singer Dixie Leonard, who is chosen to perform at an overseas USO Christmas show by her uncle Art Silver (George Segal), a comedy writer for famed comedian Eddie Sparks (James Caan). Dixie is shuttled to London, where she is thrown on-stage with Eddie, who takes an immediate dislike to her. But her performance is a sensation, and the audience can't stop howling at Dixie's smart one-liner comebacks to Eddie. Dixie is catapulted to stardom, and the repartee between Eddie and Dixie becomes the stuff of legend. The two spar together through World War II, the McCarthy era, and Vietnam. But Dixie stops speaking to Eddie when he fires a writer for being a communist sympathizer and, later, she doesn't speak to him again after he arranges for a reunion between her and her son on the battlefields of Vietnam. Finally, Dixie, now an old woman, is cajoled to appear on a television awards show to reunite with a now decrepit Eddie, age 91. ~ Paul Brenner, All Movie Guide

In this off-beat sci-fi adventure, a female scientist creates a sexy android version of herself and equips it with both the passionate emotions she lacks and a nuclear bomb. The trouble begins when the android is taken out for a test run and it ends up in the midst of a bank robbery where its internal bomb is accidentally activated. Things get worse, when the robot comes emotionally unglued and launches into a destructive rampage while enacting out its repressed creator's darkest desires. ~ Sandra Brennan, All Movie Guide

In this made-for-cable television horror thriller, a travel writer visits a historic hotel to write a story about it and inadvertently finds herself on the 13th floor where she witnesses a Satanic rite and tangles with an axe-wielding killer. She escapes, but no one believes her story because the hotel has no 13th floor. ~ Sandra Brennan, All Movie Guide

Adam Swit (Raphael Sbarge) is hounded by his consumer parents in their plush L.A. home, beset by his sexually deprived sister, and faces agony at school at the hands of the tougher kids. In order to escape his troubles, he daydreams about a fantastic young woman. Lo and behold, a dead-ringer for his dream woman shows up at school one day as a transfer student (Page Hannah) and Adam sets out to befriend her right away. On their first date they find a teacher in the parking lot who has just been severely worked over by a gang of thugs. ~ Eleanor Mannikka, All Movie Guide

In this farcical look at a female detective/mystery story writer, Cathy Palmer (JoBeth Williams) is an ordinary housewife living in Ohio with a condescending husband who is far from ideal. When Cathy wins a writing contest and has the chance to go to Paris and meet the author of the romance novels she loves, her husband tries to prevent the trip. In the end, Cathy's interests prevail, though her husband still refuses to go with her. After arriving in Paris, Cathy is knocked down by a car and wakes up in the hospital with all memory of her past life erased. In its place, she believes she is Rebecca Ryan, the heroine in the romance novels she has read. Carrying her unconscious role to the hilt, she dresses in elegant clothes and meets the comically rattled Alan McMann (Tom Conti) who becomes her partner, of sorts. Little does she know that Alan is not Rebecca's secretary, but the actual ghost writer of the Ryan novels. Cathy begins to suspect that villains are lurking everywhere, and her intuition in that regard is unerring -- she has doubts about the klutzy leader of the French opposition party (Giancarlo Giannini), and it turns out her doubts are well-founded. As the plot thickens, it becomes apparent that sooner or later Cathy-cum-Rebecca will have to realize the truth about her identity, but in the meantime, much skullduggery awaits. ~ Eleanor Mannikka, All Movie Guide

Based on the popular television series created by Rod Serling, this film of horror and the supernatural tells four separate stories--each by a different director: John Landis, Steven Spielberg, Joe Dante and George Miller. In one, a bigot is taught a lesson when he is transported to experience the lives of three different victims of prejudice and intolerance. Another takes a trip to an old-age home where the arrival of a special man turns some of the residents into youthful people once again. In the third, a woman befriends a timid young child who turns out to be a maniacal brat with bizarre powers. The final segment shows how a man with an aversion to flying has a rough time when he panics and then sees a strange creature on the wing outside his window seat. ~ Kristie Hassen, All Movie Guide

While John Carpenter's 1978 horror classic Halloween irrevocably changed the style of horror cinema with its simple but relentlessly tense story, it triggered more than a decade's worth of uninspired, exploitative knock-offs, and one could easily list Halloween II among these failures. As with its predecessor, this film was written and produced by Carpenter and Debra Hill, but the terse style and unbearable suspense of the first film are missing, replaced by a more simplistic stalk-and-slash scenario. Directorial duties were handed over to Rick Rosenthal, whose lack of expertise is quite evident (though he managed to hit his stride two years later with the prison actioner Bad Boys). The plot picks up exactly where the original left off: Laurie Strode (Jamie Lee Curtis), shaken and injured from her battle with unkillable psycho Michael Myers, is taken to the Haddonfield Hospital for observation, while Dr. Sam Loomis (Donald Pleasence) continues his desperate search for his monstrous patient. An interesting plot twist has Loomis' investigations revealing Michael's true identity (some of these sequences incorporate footage of young Michael originally shot for the television version of Halloween, which contained scenes hinting at the link between Michael and Laurie). After slashing his way through the town, Myers manages to track Laurie to the hospital, where the remainder of the action takes place. Numerous night-shift employees are slaughtered in a variety of gruesome ways before Loomis catches up with his quarry, leading to an explosive -- and seemingly conclusive -- confrontation. Pleasence is compelling as usual, but Curtis, who made an auspicious debut in the original, is sadly wasted here, her character reduced to shuffling half-drugged through darkened hospital corridors and screaming helplessly. Carpenter's active involvement in the Halloween franchise continued to dwindle steadily from one sequel to the next, getting scarcely a mention by the time producers Hill, Moustapha Akkad and Irwin Yablans revived the series in 1988 for three more sequels. ~ Cavett Binion, All Movie Guide

The up-and-down romance between Vera (Beth Howland) and Brian (Alan Haufrect) has taken yet another downward swing. Though Vera is still eager and willing, Brian seems to have lost all interest in her. Desperately, Vera turns to the enticing Belle (Diane Ladd) to transform her into an object of lust. This episode marks the directorial debut of series star Linda Lavin. ~ Hal Erickson, All Movie Guide

The title of this episode succinctly sums up the situation when Vera (Beth Howland) gets some bad news from her boyfriend Brian (Alan Haufrect). No, he hasn't fallen victim to a fatal disease, nor has he broken any bones. It's worse than that: he's decided to marry another woman. This episode was originally scheduled for January 7, 1979. ~ Hal Erickson, All Movie Guide

George Hamilton confounded his detractors by turning in a first-rate comic performance in Love at First Bite. Hamilton plays Count Dracula, who is evicted from his Transylvanian domicile when the Communist government decides to nationalize his castle. With faithful toady Renfield (Arte Johnson) at his side, Dracula heads for the Big Apple, where he finds the vampire pickings radically different from those on his home turf: for example, ol' Drac suffers the mother of all hangovers when his sinks his fangs into the neck of a wino. Klutzy Cindy Sondheim (Susan Saint James) falls in love with Dracula, not fully aware of his colorful background. But Cindy's stuffy fiance Dr. Jeff Rosenberg (Richard Benjamin), a descendant of Dracula's perennial foe Professor Van Helsing, knows what Dracula's up to and does his best to thwart the vampire's plan. This proves very difficult, since such time-honored remedies as the stake through the heart are frowned upon by the New York City authorities. So successful was Love at First Bite that Hamilton was encouraged to have a satiric go at another literary icon in 1982's Zorro, the Gay Blade. ~ Hal Erickson, All Movie Guide

Vera (Beth Howland) has finally met the guy of her dreams--as a fellow patron at the local movie house. The gang at Mel's Diner is anxious to meet Vera's beau, but apparently not as anxious as she is to keep him out of their sight! This episode ends with an outsized foot fight back at the "bijou", with the entire cast as combatants. ~ Hal Erickson, All Movie Guide

A feisty, feminist intern uncovers a medical conspiracy in this icy thriller about mysterious goings-on at Boston Memorial Hospital. When her best friend and aerobics partner, Nancy Greenly (Lois Chiles), emerges in a vegetative state from a routine abortion, Dr. Susan Wheeler (Genevieve Bujold) does some digging and discovers an overabundance of anesthesia-induced comas among otherwise healthy young patients. The male authority figures who challenge Susan's technically illegal tampering with medical records include her boss, Dr. Harris (Richard Widmark); the chief anesthesiologist, Dr. George (Rip Torn); and even her boyfriend, Dr. Mark Bellows (Michael Douglas), who doesn't want Susan's shenanigans to get in the way of his shot at chief resident. As Susan continues her crusade, the paper trail leads to the Jefferson Institute, a mysterious, experimental facility in which vegetative patients are stored en masse, suspended from the ceiling by wires threaded through their long bones, in order to reduce the cost of long-term care. A shadowy assailant begins to stalk Susan just as she uncovers the link between the Jefferson Institute and the comas at Boston Memorial, setting the stage for climactic suspense scenes involving morgues, malpractice and endless institutional corridors. Writer/director Michael Crichton adapted his second feature film from Robin Cook's bestseller of the same name. Tom Selleck, who would star in Crichton's Runaway several years later, appears briefly in Coma as another victim of lethal anesthesia. ~ Brian J. Dillard, All Movie Guide