Victor Izay Movies

The police are stymied by a lack of witnesses and clues as they investigate the murder of a pretty coed in San Francisco park. Hoping to arouse the conscience of The Public, Ironside (Raymond Burr) appears on an all-night TV debate show, begging people to come forward with any information that might help collar the killer. The Chief hopes that he can either panic the perpetrator into tipping his hand, or play for time until his assistant Ed Brown (Don Galloway) can ferret out the one clue that will crack the case. Featured in the cast is a young Ed Begley Jr. (who undoubtedly was bicycling to the studio even back in those pre-Global Warming days). ~ Hal Erickson, All Movie Guide

Actor/auteur Tom Laughlin created the character of Billy Jack in the motorcycle flick The Born Losers. Wandering Christlike through the Southwest, Native American Vietnam veteran Billy Jack -- soft-spoken, but well-versed in martial arts -- champions the cause of a progressive school run by Jean Roberts (Delores Taylor, Laughlin's real-life wife). The bigoted white townsfolk don't cotton to Jean's minority-group students, so they do everything they can to humiliate and physically abuse the kids. When one of her charges is cruelly coated with white flour, Billy Jack goes berserk. Thus begins an orgy of self-righteous violence, culminating with our hero being hunted down on a murder charge. ~ Hal Erickson, All Movie Guide

After the intense bloodshed of The Wild Bunch (1969), this comic western fable took the opposite approach to director Sam Peckinpah's continuing examination of the end of the West. Left for dead by a couple of lizard-slaughtering desperados in the middle of the desert, prospector Cable Hogue (Jason Robards) is saved by his unexpected discovery of water "where there wasn't any." Hogue turns the water hole, felicitously located near a stagecoach route, into a thriving business, creating a rest stop for a never-ending series of parched travelers. On his occasional trips to the closest town, he meets chipper prostitute Hildy (Stella Stevens), who joins him in his oasis, completing Hogue's little paradise. But even though Hogue may be able to succeed and avenge himself against his original attackers, there is one thing that he cannot stop: progress. Completed before The Wild Bunch was released, and replete with comical and even musical interludes, Peckinpah's gently picaresque telling of Hogue's rise and fall stands in distinct contrast to the visual violence of its predecessor. The underlying message about the cost of modernity, however, equals The Wild Bunch in seriousness. The callous randomness of Hogue's fate is as shocking as the Bunch's final blaze of glory; as in Robert Altman's McCabe and Mrs. Miller from the same period, a tool of "civilization" provokes a most uncivilized end for an Old West dreamer. Although the film was as light-hearted in approach as the 1969 smash hit revisionist western Butch Cassidy and the Sundance Kid, Warner Bros. mishandled the release and it did barely any business; Peckinpah returned to his trademark gore in his next film, the controversial Straw Dogs (1971). Still, The Ballad of Cable Hogue is less an anomaly for a master of violence than an ironically charming chapter in Peckinpah's career-long elegy to the western. ~ Lucia Bozzola, All Movie Guide

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

This WW II drama offers a look inside an army hospital set up in the Philippines and chronicles the relationships between the wounded soldiers and their devoted nurses. ~ Sandra Brennan, All Movie Guide

TV certainly makes strange bedfellows, as witness this Branded episode featuring veteran film star Pat O'Brien and recording entrepeneur Dick Clark as those colorful 19th century showmen P.T. Barnum and J.A. Bailey! Angrily turning down Barnum's offer to showcase him as "the greatest coward on earth" in a new Wild West show, Jason McCord (Chuck Connors)--who'd met P.T. when he won a $50 prize by defeating a circus strong man--learns that his gesture is futile, since Barnum intends upon using McCord's name whether he gets permission or not. In order to prevent this from happening, Jason somehow stage-manages a merger between Barnum and his up-and-coming rival "J.A." (whose last name is not revealed until the end of the episode, as if there was any doubt!) ~ Hal Erickson, All Movie Guide