Joseph Hoover Movies

This laughably-bad mess stars ubiquitous "Z"-movie journeyman John Carradine as Dr. DeMarco, a loony scientist whose original concept to build a humanoid robot for space missions is fouled somewhat by his choice of a psycho-killer's brain for his first subject. Instead of doing the sensible thing and retiring from the mad-doc profession, DeMarco chooses instead to build another robot to hunt down the last one. His efforts are only slightly hindered by a moronic CIA investigation (led by a hung-over Wendell Corey, in his final screen role) and the meddling of a cabal of communist spies under the direction of slinky dragon-lady Tura Satana (of Russ Meyer's Faster Pussycat! Kill! Kill!), apparently for the purpose of exploiting the solar-powered astro-man for military reasons. When the doc's lovely former lab assistant (she's since been replaced by a leering hunchback) is attacked by the first robot, he loses his solar cell and narrowly escapes destruction (by holding a flashlight to his head!), but in his hurried exit he leads the CIA right back to DeMarco's lab, where most of the surviving cast members bump each other off. Taking into account the obvious goofy editing (characters are seen standing around waiting for the shot to end) and abominable performances all around, director Ted V. Mikels (of the "Point-N-Shoot" school of filmmaking) would later achieve such cinematic heights as The Corpse Grinders and Blood Orgy of the She-Devils. ~ Cavett Binion, All Movie Guide

Working on a tip, Erskine (Efrem Zimbalist Jr.) goes undercover at a Colorado federal prison, where becomes the cellmate of hard-bitten "lifer" Fritz Moline (Joe Campanella). Having spent five years formulating an escape plan, Moline has no qualms about killing anyone who might get in his way--including his new "buddy" Erskine. William Reynolds, who would join the series during Season Three as Special Agent Tom Colley, is here cast as another FBI operative named Kendall Lisbon. ~ Hal Erickson, All Movie Guide

Suspense builds around the investigation of a plane crash that caused 53 deaths in this dramatic adaption of Ernest K. Gann's novel. Authorities systematically eliminate probable causes, finally placing blame on the pilot, who was seen drinking before the flight. The airline's director of flight operations, Sam McBane (Glen Ford), knowing the pilot's excellent WW II record, refuses to accept the authorities' conclusions and begins his own investigation. With the help of the only survivor, a stewardess (Suzanne Pleshette), McBane re-creates the events leading to the crash in an attempt to discover the true cause. The character of the incriminated pilot, Captain Jack Savage (Rod Taylor), is revealed through a series of flashbacks, from a wartime army camp (with a cameo by Jane Russell) to the climactic moment of the thrilling crash. Milton Krasner's crisp cinematography earned him an Oscar nomination. ~ Lucinda Ramsey, All Movie Guide

Like Pontius Pilate, director John Ford asks "What is truth?" in The Man Who Shot Liberty Valance--but unlike Pilate, Ford waits for an answer. The film opens in 1910, with distinguished and influential U.S. senator Ransom Stoddard (James Stewart) and his wife Hallie (Vera Miles) returning to the dusty little frontier town where they met and married twenty-five years earlier. They have come back to attend the funeral of impoverished "nobody" Tom Doniphon (John Wayne). When a reporter asks why, Stoddard relates a film-long flashback. He recalls how, as a greenhorn lawyer, he had run afoul of notorious gunman Liberty Valance (Lee Marvin), who worked for a powerful cartel which had the territory in its clutches. Time and again, "pilgrim" Stoddard had his hide saved by the much-feared but essentially decent Doniphon. It wasn't that Doniphon was particularly fond of Stoddard; it was simply that Hallie was in love with Stoddard, and Doniphon was in love with Hallie and would do anything to assure her happiness, even if it meant giving her up to a greenhorn. When Liberty Valance challenged Stoddard to a showdown, everyone in town was certain that the greenhorn didn't stand a chance. Still, when the smoke cleared, Stoddard was still standing, and Liberty Valance lay dead. On the strength of his reputation as the man who shot Valance, Stoddard was railroaded into a political career, in the hope that he'd rid the territory of corruption. Stoddard balked at the notion of winning an election simply because he killed a man-until Doniphon, in strictest confidence, told Stoddard the truth: It was Doniphon, not Stoddard, who shot down Valance. Stoddard was about to reveal this to the world, but Doniphon told him not to. It was far more important in Doniphon's eyes that a decent, honest man like Stoddard become a major political figure; Stoddard represented the "new" civilized west, while Doniphon knew that he and the West he represented were already anachronisms. Thus Stoddard went on to a spectacular political career, bringing extensive reforms to the state, while Doniphon faded into the woodwork. His story finished, the aged Stoddard asks the reporter if he plans to print the truth. The reporter responds by tearing up his notes. "This is the West, sir, " the reporter explains quietly. "When the legend becomes fact, print the legend." Dismissed as just another cowboy opus at the time of its release, The Man Who Shot Liberty Valance has since taken its proper place as one of the great Western classics. It questions the role of myth in forging the legends of the West, while setting this theme in the elegiac atmosphere of the West itself, set off by the aging Stewart and Wayne. ~ Hal Erickson, All Movie Guide