Ron Karabatsos Movies

Directed by Mike Mitchell, Surviving Christmas finds Drew Latham (Ben Affleck) uneager to spend another lonely Christmas in his own home. Longing for holidays past, Drew travels to his childhood home intending to relive the experience of a family Christmas -- unfortunately, his family no longer lives there. This represents only a small snafu to Drew, who offers the Valco patriarch and his wife (Sopranos star James Gandolfini and Catherine O'Hara) a huge amount of money if they consent to pretend they are his parents and that he is a cherished member of the family. This entails participating in Latham family traditions, such as Christmas tree selection and crowded holiday shopping excursions. Though the Valcos reluctantly go along with Drew's requests, Alicia, their eldest daughter, arrives at home and refuses to comply with her "brother's" wishes. ~ Tracie Cooper, Rovi

B-movie director Rafal Zielinski adds another sordid tale to his CV with this C. Thomas Howell vehicle. In the film, Howell plays a cop who gets involved with a murder witness, only to find out that she's part of an international ring of sex-for-hire beauties. ~ Michael Hastings, Rovi

A spoiled rich girl leaves her pop's protection and gets a job in an L.A. bar where she meets and falls for an unknown musician. She's out to prove to daddy, that she can cut it on her own. ~ Rovi

Don Rickles guest stars as Harold Schwan, a successful dry cleaner with more than his share of dirty laundry. Unbeknownst to Schwan, the gang of thieves who've been robbing his stores consists of his "three ex-es": his former wife, his former mistress and his former secretary. As for the ladies, they are blissfully unaware that they have stolen money that Schwan was laundering (no pun intended) for a mobster named Munks (Ron Karabatsos)--and that's how Hunter (Fred Dryer) gets involved in the intrigue. ~ Hal Erickson, Rovi

In this comedy, the members of the Shakers, an aspiring rock band, perform at a series of weird and wacky weddings. ~ Iotis Erlewine, Rovi

This slick and stylish episode is something of a variation of the classic film noir DOA, with overtones of Raymond Chandler. Travelling to Hollywood in the company of elderly writer Walter Murray (Mike Connors), with whom she is slated to collaborate on a movie script, Jessica (Angela Lansbury) makes a brief stop at a seedy motel-diner. Later that evening, Walter is found dead in his motel room, leaving behind a tape recording detailing the events leading up to his demise. In a series of stunningly photographed black-and-white flashbacks, Jessica learns that on the previous evening, Walter had been reunited with a woman (Elizabeth Ashley) whom he hadn't seen in 19 years--not since he killed her abusive husband! ~ Hal Erickson, Rovi

A blushing bride (Melissa Gilbert) doesn't catch on that something's fishy when her new husband (Joe Penny), last name "Moran", introduces her to his distinctly Italian family, who kiss each other's hands a lot. In fact, she doesn't tumble to the fact that her "perfect" spouse is a Mafiosa until it's Too Late. Before she knows what's happening, the wide-eyed (and soft-headed) girl is swept up in drug trafficking. To keep the Italian anti-defamation league at arm's length, the producers of this film contrive to have Tony Franciosa portray an Italian-American FBI agent who comes to the heroine's rescue. Blood Vows: The Story of a Mafia Wife was originally telecast January 18, 1987. ~ Hal Erickson, Rovi

The "brothers" in Brotherly Love are twin siblings Ben and Harry Ryder. Both are played by Judd Hirsch, in a change of pace from his Taxi duties. One of the twins is a solid citizen and family man; the other is evil incarnate. The story was adapted from a William D. Blankenship novel by the later Ernest Tidyman, whose next-to-last project this was. Filmed in Canada, Brotherly Love first aired May 28, 1985. ~ Hal Erickson, Rovi

Combining electric song and dance performances with drama (both on and off screen), Francis Ford Coppola's The Cotton Club (1984) looks back to the 1920s-1930s peak of the legendary Harlem nightclub where only blacks performed and only whites could sit in the audience. Mixing historical figures with characters loosely based on actual people, Coppola and co-writers William Kennedy and The Godfather's Mario Puzo create a panorama of love, crime, and entertainment centered on the Club. Among them are cornet player Dixie Dwyer (Richard Gere, playing his own solos), who escapes psycho gangster "benefactor" Dutch Schultz (James Remar) for a George Raft-type Hollywood career as a gangster film star; Schultz's nubile mistress Vera Cicero (Diane Lane), who loves Dixie against her mercenary instincts; Cotton Club Mob owner Owney Madden (Bob Hoskins) and close associate Frenchy Demarge (Fred Gwynne); Vincent (Nicolas Cage), Dixie's no-good Mad Dog Coll-esque brother; Club tap star Sandman Williams (Gregory Hines), who woos ambitious light-skinned Club singer Lila Rose Oliver (Lonette McKee); and cameos by Charles "Honi" Coles and Cab Calloway impersonator Larry Marshall. Complementing the period story, Coppola evokes the style of '30s gangster movies and musicals through an array of old-fashioned devices like montages of headlines, songs and shoot-outs. Conceived by producer Robert Evans as his crowning achievement and directorial debut, Evans had to hand over the troubled production to Coppola, but the budget spiraled out of control as the script was repeatedly re-written throughout the chaotic shoot. By the time it was released, The Cotton Club's epic production story of power struggles, financial bloat, and even a murder overshadowed the "reunion" of The Godfather's creative team. Neither a Heaven's Gate-sized failure nor a wallet-saving hit like Coppola's Apocalypse Now, The Cotton Club got some favorable critical notices (although it drew fire for subordinating the African American stories). It did not, however, find a large enough audience to justify its expense and controversy, becoming another mark against 1970s "auteur" cinema in increasingly blockbuster-driven 1980s Hollywood. ~ Lucia Bozzola, Rovi

Blood Feud was a two-part TV drama, originally presented as an "Operation Prime Time" special. Robert Blake is disturbingly convincing as labor leader Jimmy Hoffa, engaged in a decade-long war of words with attorney (and later attorney general) Robert F. Kennedy. Cotter Smith makes his TV debut as Kennedy, a role he'd repeat on future occasions. Thoroughly compelling when sticking to the facts, the drama falls apart whenever indulging in flight of fanciful speculation (Sample: two of Hoffa's lieutenants watch the live telecast of Lee Harvey Oswald's murder, then celebrate the fact that Oswald will never be able to reveal their complicity in the JFK assassination!) Blood Feud was syndicated to local TV stations beginning April 24, 1983. ~ Hal Erickson, Rovi

Elizabeth Montgomery, the queen of the TV-movie "victims," plays a more take-charge role in Missing Pieces. Cast as a private detective, Montgomery has to deal with an unpleasant memory, a near-insoluble mystery, and a pursuing murderer. Drugs and political corruption are also part and parcel of this Chandleresque puzzler. In true noir fashioned, the story is narrated by Montgomery throughout. Based on a novel by Karl Alexander, Missing Pieces originally came together on May 14, 1983. ~ Hal Erickson, Rovi

Rabid Red Sox booster Carla Tortelli (Rhea Perlman) gets steamed when boorish Yankees fan Ed Kellner (Ron Karabatsos) drops in at Cheers. So inflammatory are Ed's abrasive anti-Boston insults that Carla ends up slugging the guy. As a result, Ed threatens to slap an enormous lawsuit on Sam (Ted Danson) unless Carla is immediately fired. But never fear, there's a "sweet revenge" finale in this classic episode. ~ Hal Erickson, Rovi