Eddie Jones Movies

Older brother Chubby (Paul Sorvino) is a combative, booze-swilling, rough-edged construction worker, following in the footsteps of his brother Tommy (Tony Lo Bianco). Macho in the extreme, these fellows have no time for the sensitive moral quandaries which are at the heart of the two younger brothers' lives. Stony (Richard Gere), has worked with his father in the construction business, but longs to work with children. Albert (Michael Hershewe), the youngest, is a sensitive lad, the butt of his father and oldest brother's rough manner, and is constantly being harassed by his stressed-out mother (Lelia Goldoni). After a few attempts to communicate with his insensitive older brother and his parents, Stony must decide for himself if the rejection he will experience from his family on leaving the construction business is worth it; and if it is, what can be done to protect his younger brother from the rest of the family? ~ Clarke Fountain, All Movie Guide

The First Deadly Sin was Frank Sinatra's final starring movie vehicle. Based on a novel by Lawrence Sanders, it casts Sinatra as Edward Delaney, a big-city detective on the verge of retirement. Beset with profound personal problems--including a gravely ill wife (Faye Dunaway)--Delaney nonetheless tackles the case of an axe murderer who seemingly strikes at random. Be on the lookout for an unbilled Bruce Willis. ~ Hal Erickson, All Movie Guide

Genre pioneer Larry Cohen, who broke new horror ground with the killer-baby hit It's Alive!, takes a stab at the giant-monster scenario with this enjoyable low-budget exercise. The title refers to the winged Aztec god Quetzalcoatl, represented here as a dragon-like flying lizard (thanks to some quaint but amusing stop-motion animation from David Allen), who decides to take up residence in the art-deco spire of the Chrysler Building, taking frequent jaunts in the midday sun to nip the heads off various hapless New Yorkers. The resulting bloody mess confounds detectives Shepard (David Carradine) and Powell (Richard Roundtree), who are already scratching their heads over a series of bizarre ritual murders linked to a secret Aztec cult. Into the picture comes the film's protagonist -- neurotic, sweaty, paranoid crook Jimmy Quinn (Michael Moriarty, in a tour-de-force performance), a two-bit wheel-man with aspirations of becoming a jazz pianist. After a botched diamond heist leads Quinn to Q's lair, his attempts to go straight take a side-turn as he decides to extort from the city an enormous sum in exchange for directions to the monster's nest. A few sneaky deals later, the location falls into Shepard's hands, and he leads a paramilitary assault on the Chrysler Building, where the creature's humongous egg is about to hatch. Rude, edgy, fast-paced, and peppered with witty dialogue (most of which can't be repeated here), Cohen's script retains the spirit of classic monster movies like The Beast from 20,000 Fathoms, injecting it with tough, gangster-movie moxie. Moriarty's unbelievable performance -- one of three collaborations with Cohen -- finds him chewing acres of scenery as a contemptible, loud-mouthed goon who's too funny to hate; Moriarty also composed and performed two schizophrenic piano numbers for the film. ~ Cavett Binion, All Movie Guide

This documentary on human rights abuses in Guatemala is narrated by Rigoberta Menchú, winner of the 1992 Nobel Peace prize for her courageous struggle against the military regime in her country. Menchú is a Native American and in this documentary, it is explained that three of her family members were killed during the long fight against the repressive government. One segment of the film shows the bodies left in the wake of a government massacre of civilians. Menchú maintains that as long as the U.S. continues to support the Guatemalan government with military or economic aid, the lives of civilians will continue to be the cost of that support. Two fictional segments in the film illustrate U.S. concerns about business and corporate interests, rather than with human rights. ~ Eleanor Mannikka, All Movie Guide

This red-baiting action film stars Chuck Norris as Matt Hunter, a retired CIA agent who lives in the Florida Everglades. A communist invasion of Miami brings Hunter out of retirement to fight the encroaching hordes led by everyone's favorite low-budget bad guy, Richard Lynch. The film is extremely jingoistic, presenting the evil communists staging an invasion on Christmas, demolishing a church, and attempting to blow up a school bus full of children. From the same school of thinking which produced Rambo and Red Dawn, this film at least features some convincing gore by makeup wizard Tom Savini (Friday the 13th), working on his third gig for director Joseph Zito. Zito and Savini returned with Red Scorpion. ~ Robert Firsching, All Movie Guide

Based on William Bayer's novel Switch, the made-for-TV Doubletake introduced Richard Crenna to his oft-played role of detective Frank Janek. As always, Janek is assigned to a particularly gruesome and profoundly puzzling murder case. A prim lady schoolteacher and a hooker are both killed on the same evening; their bodies are decapitated, and their heads are switched! The first installment of this two-part movie details the early stages of the investigation, as well as the growing relationship between Janek and photographer Caroline Wallace (Beverly D'Angelo), the daughter of a cop who'd died in a mob hit. Part two reveals the "dark side" of the case, exposing corruption in the highest police circles and implicating someone very close to Janek in the double murder. Doubletake was originally telecast on November 24 and 26, 1985, and has since been reissued as a single three-hour film. ~ Hal Erickson, All Movie Guide

A police psychologist and his school-age son become embroiled in the machinations of a mysterious cult religion in this thriller from director John Schlesinger. After his wife is electrocuted in a freak accident, Dr. Cal Jamison (Martin Sheen) and his son, Chris (Harley Cross), move back to Manhattan, where Cal went to school. When not spending time with his son and surrogate extended family -- husband-and-wife anthropologists Kate (Elizabeth Wilson) and Dennis Maslow (Lee Richardson) -- Cal settles into his new job and romances his landlady, Jessica Halliday (Helen Shaver). Soon, though, a series of brutal murders of young children begins to take over Cal's life. Through the ravings of policeman Tom Lopez (Jimmy Smits), who believes the killers have supernatural power over him after stealing his badge, Cal learns of Santeria, a voodoo-like Latin American sect that mixes elements of Christianity and pagan mysticism. Although the religion turns out to have ties to some of the richest men in the city and even Cal's well-meaning maid seems to be a practitioner, he can't get any straight answers as to whether the cult is responsible for the murders. But after a sinister African shaman (Malick Bowens) places a curse on Jessica, Cal finally begins to understand the danger that faces him -- and his son. The Believers was very loosely adapted from Nicholas Conde's 1982 novel The Religion. ~ Brian J. Dillard, All Movie Guide

In this suspenseful drama, a prominent publishing executive marries a younger man soon after the death of her husband. After the nuptials, the bride realizes she has made a terrible mistake as her charming groom seems to be planning to murder her. The film is also called Marked for Murder. ~ Sandra Brennan, All Movie Guide

American Blue Note concentrates on a Manhattan jazz quintet. Peter MacNichol, Carl Capotorto, Tim Guinee, Bill Christopher-Myers and Jonathan Walker play the five musicians, each with individual crosses to bear. Allotting themselves one year to get booked into a major jazz club or else they'll split, the quintet performs a lot of nickel-and-dime gigs in the meantime. But only one of the five makes it to the band's "Valhalla." Louis Guss, Zohra Lampert and Trini Alvarado appear in peripheral roles. Filmed in 1989, the independently produced American Blue Note didn't get a distributor until 1991. ~ Hal Erickson, All Movie Guide

Director Stephen Frears' tense adaptation of Jim Thompson's novel The Grifters was one of a number of revival film noirs in the first half of the '90s. Updating the setting to contemporary Los Angeles, the film follows a trio of con artists who are intent on out-foxing each other. Roy Dillon (John Cusack) is a simple, two-bit con, whose life is thrown into turmoil when his estranged mother Lilly (Anjelica Huston) returns home in an attempt to evade the law. Lilly doesn't warm to Roy's girlfriend Myra Langtry (Annette Bening), who is too similar to herself. Soon, the two women are competing for Roy in a battle that is more of a power struggle than a pursuit of affection, and the battle quickly turns dangerous. Huston was nominated for an Academy Award for her work. ~ Stephen Thomas Erlewine, All Movie Guide

After getting his start as a visual effects artist on the original Star Wars trilogy, Spielberg protege Joe Johnston found success as a director with his debut film, the blockbuster family adventure Honey, I Shrunk the Kids. For his sophomore outing, Johnston helmed this action-adventurer, set in 1930s Hollywood and in the spirit of old pulp comics and adventure serials, and co-adapted from the David Stevens graphic novel by Danny Bilson and Paul De Meo. Bill Campbell stars as Cliff Secord, an eager young pilot who finds himself in possession of a secret jet-pack that gives him the ability to fly. Cliff soon learns that screen-star Neville Sinclair (Timothy Dalton) will stop at nothing to get his hands on the rocket pack so he can give it to the Nazis. As The Rocketeer and with a little help from his mechanic friend played by Alan Arkin, it's up to Cliff to elude Sinclair, defeat the Nazis, and save his girlfriend Jenny (Jennifer Connelly). ~ Matthew Tobey, All Movie Guide

It was impossible back in September of 1991 to objectively critique the TV movie Us. The film had been intended as the pilot for a new series, to be produced, directed and written by its star Michael Landon. Landon had died of a lingering illness only six months earlier, thus the film was heralded by the publicity people as "His final gift to us all." One publication, which had devoted no fewer than three cover stories in a row to Landon in his final weeks, labelled as "compassionate" this story of a man released from prison after 18 years for a crime he didn't commit, who now needed to touch base with his long-estranged family. Removed from the understandable emotionalism surrounding its premiere, it must be noted that Us was fair to middling at best. Its premise of having Landon and his family stage a reunion while on a cross-country trip was a viable one, but in execution Us was far below Michael Landon's usual standard. ~ Hal Erickson, All Movie Guide