Mickey Knox Movies

Achingly romantic and creepy-funny, this funereal fantasy from the director of La Chiesa (1989) is unlike any Italian film in memory. Rupert Everett plays Francesco Dellamorte, a lonely cemetery caretaker who just wants to get out of his small town of Buffalora. His assistant and sole companion, Gnaghi (played by famed French musician Francois Hadji-Lazaro) is an overweight cretin who speaks only in grunts, and the dead people outside are rising from their graves as zombies and trying to have him for breakfast. This situation, coupled with all his other problems, gives Francesco a real complex. His troubles are compounded when he meets a series of mysterious women (all played by the beautiful Anna Falchi) whom he loves before they die tragically. Soavi's film is based on a graphic-novel, Dylan Dog by Tiziano Sclavi, but Soavi's more obvious influences range from Jean Rollin's La Rose de Fer (1973) to Tim Burton's Edward Scissorhands (1990). Barbara Cupisti (of Soavi's Deliria) has a small role, and the film also benefits from Manuel de Sica's memorable score and excellent pacing by editor Franco Fraticelli. This is a film to savor and it will go down as one of the most striking Italian genre efforts of the decade, despite some weak effects work by the normally reliable Sergio Stivaletti. ~ Robert Firsching, All Movie Guide

After a break of more than 15 years, director Francis Ford Coppola and writer Mario Puzo returned to the well for this third and final story of the fictional Corleone crime family. Two decades have passed, and crime kingpin Michael Corleone (Al Pacino), now divorced from his wife Kay (Diane Keaton), has nearly succeeded in keeping his promise that his family would one day be "completely legitimate." A philanthropist devoted to public service, Michael is in the news as the recipient of a special award from the Pope for his good works, a controversial move given his checkered past. Determined to buy redemption, Michael and his lawyer B.J. (George Hamilton) are working on a complicated but legal deal to bail the Vatican out of looming financial troubles that will ultimately reap billions and put Michael on the world stage as a major financial player. However, trouble looms in several forms: The press is hostile to his intentions. Michael is in failing health and suffers a mild diabetic stroke. Stylish mob underling Joey Zaza (Joe Mantegna) is muscling into the Corleone turf. "The Commission" of Mafia families, represented by patriarch Altobello (Eli Wallach) doesn't want to let their cash cow Corleone out of the Mafia, though he has made a generous financial offer in exchange for his release from la cosa nostra. And then there's Vincent Mancini (Andy Garcia), the illegitimate and equally temperamental son of Michael's long-dead brother Sonny. Vincent desperately wants in to the family (both literally and figuratively), and at the urging of his sister Connie (Talia Shire), Michael welcomes the young man and allows him to adopt the Corleone name. However, a flirtatious attraction between Vincent and his cousin, Michael's naïve daughter Mary (Sofia Coppola) develops, and threatens to develop into a full-fledged romance and undo the godfather's future plans. ~ Karl Williams, All Movie Guide

Legendary low-budget mogul Roger Corman made a somewhat inauspicious return to the director's chair for the first time in nearly twenty years (unless one counts his uncredited participation in "pickup" shoots for several New World Pictures productions) for this quaint sci-fi/horror outing, based on the popular novel by Brian Aldiss. Opening in the year 2031, the story begins with scientist Joseph Buchanan (John Hurt) working on a top-secret military project that creates a rift in time in space, hurtling him and his ultra-high-tech hotrod backwards through time to the early 19th century. Buchanan manages to adapt quite well to his new surroundings, particularly after making the acquaintance of fellow scientist Baron Frankenstein (Raul Julia). Curiously, the Baron is presented here as an authentic historical figure, and his monster-making efforts the basis for the famed book by Mary Shelley (Bridget Fonda), which was a work of fiction. After ruminating about his situation with Mary and her future husband Percy Shelley (late INXS frontman Michael Hutchence) at the villa of mad poet Lord Byron (Jason Patric), Buchanan is approached by the Baron to help construct a mate for his intelligent but homicidal creature (Nick Brimble). Unfortunately, things do not go according to plan, leading to an ironic denouement that finds Buchanan pondering the apocalyptic results of his life's work. The film boasts solid production values and some beautiful location photography (most of the film was shot in Italy); however, the classy look and high-profile casting can't disguise the overall feel of an early New World outing, albeit with a much larger budget. The script, adapted by Corman and writer F.X. Feeney, eliminates many of the novel's intellectual twists and turns; much of the remaining dialogue comes off as merely pretentious. ~ Cavett Binion, All Movie Guide

Tony Church (Burt Reynolds) is a Chicago detective who loses his job when he is blamed for the deaths of his fellow officers gunned down in a botched drug bust. He becomes a bodyguard to hooker Della Roberts (Liza Minnelli), the lone witness who can identify the killer (James Remar). Bernie Casey is Church's ill-fated partner Lamar, and Dionne Warwick appears briefly as the head of a call-girl ring in this unremarkable feature. ~ Dan Pavlides, All Movie Guide

In a semi-erotic film almost universally lamented, Bo Derek, last wife of the late John Derek (who wrote, directed, and photographed Bolero), plays Ayre, a virginal young woman who, on graduating from an exclusive British boarding school, is determined to find the right man for her first sexual encounter wherever he might be in the world. Rich enough not to venture forth alone, she brings along her friend Catalina (Ana Obregon) and the family chauffeur (George Kennedy). Ayre first travels to an Arab country where she meets an ideal lover, a sheik (Greg Bensen) who offers to deflower her but falls asleep almost immediately (he was, after all, reciting lines from this script). Giving up on the sheik, Ayre goes on to Spain, where she meets the toreador Angel (Andrea Occhipinti) who is even better than the sheik because he manages to stay awake. Unfortunately, after she has succeeded in her quest, the perils of Angel's profession are brought home when he is gored in a sensitive location -- the arena, of course. ~ Eleanor Mannikka, All Movie Guide

This undistinguished drama goes no further than clichéd views about women who gain success by bedding down those who have it. Pia Zadora stars as Jerilee, just out of high school and married to a prominent Hollywood screenwriter, with her own heart-felt aspirations to get her screenplays noticed by the right producers. Her marriage fails for many reasons and once on her own, she comes to the difficult decision that she really will go nowhere fast unless she uses her sexual charms to pave the way to recognition -- and so she does, with a bit of revenge thrown in at the end for good measure. ~ Eleanor Mannikka, All Movie Guide

This infamous Korean War drama is best known as the movie produced by Rev. Sung Myung Moon's Unification Church, though more people seem to have read stories about its troubled production or disastrous reception at the box office than to have actually seen it: on its initial release, it grossed less than $2 million on a budget of $50 million. Starring Laurence Olivier as Gen. Douglas MacArthur (psychics reportedly told producers that the late General was happy with the casting choice), Inchon also features Ben Gazzara and Jacqueline Bisset as a married couple whose relationship is tested by the trials of war, and boasts as impressive as supporting cast as money can buy, including David Janssen, Richard Roundtree, Omar Sharif, Toshiro Mifune, and Rex Reed (who was perhaps hoping for a role that could stand beside his work in Myra Breckenridge).The lavish battle scenes are staged by director Terence Young (best known for his work on several early James Bond films), and the film presents one of your only opportunities to see Olivier, the greatest actor of his generation, talk like W.C. Fields while smoking a corn-cob pipe. ~ Mark Deming, All Movie Guide

This made-for-television biography chronicles the life of Italian actress and beauty Sophia Loren, from her childhood in Naples to her international stardom. Joanna Crawford adapted the screenplay from A.E. Hotchner's biographical book. ~ Kristie Hassen, All Movie Guide

An Irish journalist (Lynn Redgrave) will do anything she can to support a peasant revolution in Mexico. The rogues played by Franco Nero and Eli Wallach will do almost anything for money, but they will also do a lot for a charming lady: particularly when she has saved one of them from certain death in front of a prison firing squad. After arranging Wallach's prison escape, the trio heads for Mexico, where incredible things happen. ~ Clarke Fountain, All Movie Guide

Vittorio De Sica delivers a full-blown comic performance as Cesare Celli, an American gangster exiled to Italy and kidnapped by a collection of inept crooks. These incompetents are headed by Harry Price (Robert Wagner), who demands a ransom from Cesare's friends for his safe return. When none of Cesare's friends send money to rescue Cesare from the kidnappers, Cesare is outraged and concocts a scheme for a five-million-dollar platinum robbery as a way to pay Harry's gang back for their efforts and to get his revenge on a world that has ignored him. Cesare trains his collection of nincompoops for the robbery and imports the famed Professor Samuels (Edward G. Robinson) to plan the heist. After a series of problems raising the money for the robbery and obligatory bumblings by the gang, Cesare and his men are ready to proceed with the heist. But then, right before the robbery, Harry and his girlfriend, Juliana (Raquel Welch), decide to betray Cesare and abscond with the platinum themselves. ~ Paul Brenner, All Movie Guide

Author Norman Mailer's sporadic ventures into filmmaking are usually pretty bad, but never without interest. Beyond the Law co-stars Mailer and several of his cronies, including fellow-author George Plimpton and actor Rip Torn. Also in the cast is Beverly Bentley, the onetime Mrs. Mailer. Set in a New York police precinct house, the improvised plotline concerns illicit gambling, motorcycle bums and corrupt city officials. The stilted, self-conscious performances of the cast indicate that Mailer might have been better off with a real script. Only Rip Torn looks as though he's playing a character rather than playing an actor playing a character. ~ Hal Erickson, All Movie Guide

Based on an interesting plot from a novel by Robert Sheckley, this movie features tongue-in-cheek performances by Andress and Mastroianni, which are responsible for its status as a minor cult favorite. Set in the 21st century, this science fiction movie depicts a society in which population control is facilitated by the use of legalized murder. The society plays an assassination game for fun, in which the last person left alive is the winner. The movie is made for entertainment, but there are some sexual situations. ~ All Movie Guide

A View from the Bridge is set in New York, but the alleged political undesirability of playwright Arthur Miller dictated that this film be lensed in France. Director Sidney Lumet shot the film in both English and French, with the English version sounding more recited than acted at times. Raf Vallone plays Eddie Carbone, a tough Italian-American longshoreman living in Brooklyn with his wife Beatrice Carbone (Maureen Stapleton), and her comely niece, Catherine (Carol Lawrence) -- to whom he feels an overwhelming yet undeclared attraction. Then two illegal immigrants, Rodolpho and Marco (Jean Sorel and Raymond Pellegrin), turn up, and rage builds in Eddie when he senses a burgeoning, mutual attraction between Rodolpho and Catherine. To divert suspicions of his own incestuous desires, he first declares Rodolpho a homosexual, then does everything in his power to ensure that Rodolpho and Marco are deported - thus setting the film up for a surprisingly grisly and shocking climax. The film is more commonly remembered today for a "shocking" set piece, in which Eddie kisses Rodolpho full on the lips to "prove" that the boy is gay. ~ Hal Erickson, All Movie Guide