Robert Hitt Movies

Costa-Gavras's tense political drama opens in an unspecified South American country (though clearly intended to be Chile) in the throes of a military coup. American activist Charles Horman (John Shea), who has been a thorn in the side of the country's military ever since his arrival, suddenly disappears. In trying to find out what has happened, his wife Beth (Sissy Spacek) is stonewalled, not only by the ruling junta but by the American consulate. His father, staunchly patriotic Ed Horman (Jack Lemmon), joins Beth in her search. Ed and his daughter-in-law have never seen eye to eye politically, and he refuses to entertain the notion that his son's disappearance might be part of a larger conspiracy or cover-up. But as the days grow into weeks, Ed comes to the shattering conclusion that he and his family have been betrayed by the American government, on behalf of the "friendly" South American dictator who holds his people in a grip of iron. Adapted by Costa-Gavras and Donald E. Stewart from a book by Thomas Hauser, Missing was inspired by the true story of the late Charles Horman. In spite of (or perhaps because of) condemnation from certain high-ranking officials in the Reagan administration, the film went on to win an Academy Award for Best Adapted Screenplay, as well as nominations for Best Picture, Best Actor, and Best Actress. ~ Hal Erickson, Rovi

The final made-for-TV movie of the calendar year 1981 (it was originally telecast on December 30), Senior Trip combines music, comedy and pathos to tell the story of a group of graduates from a staid Ohio high school. Though tightly chaperoned on their titular trip to New York City, the kids intend to cut loose and go crazy, or at least to pursue their hearts' desires (in fact, the only two students who actually want to do some sightseeing before returning home are treated like social pariahs). Among the principal characters are would-be business tyro, Roger (Scott Baio); wannabe singer, David (Randy Brooks); aspiring actress, Judy (Liz Callaway); budding artist, Jon (Jeffrey Marcus); and self-styled Lothario, Fred (James Carroll). It takes a few run-ins with the seamier denizens of the Big Apple to convince the teens that maybe the old high school wasn't so bad. Part of the film is an extended plug for the then-current Broadway smash, Sugar Babies, with Mickey Rooney showing up as himself in one of the sequences. Buried among the minor players are two promising young actors named Jason Alexander and Robert Townsend. Senior Trip was a CBS presentation. ~ Hal Erickson, Rovi

Bruce Dern stars in this disturbing shocker about a mentally unbalanced tattoo artist named Karl Kinski, who is hired to put a series of fake tattoos on fashion model Maddy (Maud Adams) as part of an advertising campaign. But Kinski becomes obsessed with Maddy and decides to kidnap her. Keeping her a captive, he uses her body as a living canvas for his tattoo designs. During its initial release, the film raised the ire of feminist groups because of the ad campaign that featured a naked woman bound at the ankles. The film was scripted by Joyce Bunuel, (Luis Bunuel's daughter-in-law). ~ Paul Brenner, Rovi

"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, Rovi