Janet Margolin Movies

The made-for-TV Murder C.O.D. has a plot almost as complex and clever as its psychotic "protagonist." William Devane plays an adroit hitman who selects his victims before he's been hired to kill them. His modus operandi is to approach the person or persons who'd most benefit from the murder, then charge a $100,000 fee to go through with the plan. Patrick Duffy is the cop on the case, who periodically runs out of breath trying to keep up with the slippery Devane. While Duffy loses the acting sweepstakes to Devane, the viewer can be assured that Duffy's character in Murder C.O.D. will emerge triumphant. ~ Hal Erickson, All Movie Guide

Ivan Reitman's sequel to the phenomenally successful Ghostbusters is looser and more self-assured than the original. The film opens with a title reading "Five Years Later" and finds the ghostbusters living in hard times. A restraining order has forbidden the boys to partake in paranormal warfare, and as a result they have had to seek other lines of work. Ray (Dan Aykroyd) and Winston (Ernie Hudson) spend their time performing at children's' birthday parties, and Egon (Harold Ramis) is busy conducting experiments investigating the effect of human emotions on the environment, leaving ghostbusting behind. Venkman (Bill Murray) and Dana (Sigourney Weaver) have split up. Venkman now hosts a local cable show called "The World of the Psychic." Dana, now divorced and the mother of a little baby named Oscar, works as an art restorer in a museum -- and this is where the plot kicks in. While Dana is restoring a portrait of a 16th-century tyrant by the name of Vigo the Carpathian, the portrait becomes hexed. The evil Vigo wants to return to life by taking over the body of Dana's little child. Vigo has enlisted Dana's boss, Janosz Poha (Peter MacNicol), to compel Dana to cooperate. Soon dirty sludge and slime flow through the streets of Manhattan, and the ghostbusters have to reunite to save the city from a funky paranormal evil. ~ Paul Brenner, All Movie Guide

It's a slow night at the local single's bar, so three guys end up sitting around sharing their widely-differing viewpoints on finding romance. ~ Sandra Brennan, All Movie Guide

In 1979, Jonathan Demme was still a cutting-edge director and The Last Embrace was his first effort at a completely commercial assignment. Very much in the Hitchcock vein, The Last Embrace is an intense suspense film concerning Harry Hannan (Roy Scheider), a government agent recovering from a catatonic collapse after the murder of his wife. After Harry's recovery, he is back on the job, but he can't figure out whether he is suffering from self-induced paranoia or if his former employers want to kill him. These conflicting feelings are exacerbated when he forms a connection with a nervous graduate student, Ellie Fabian (Janet Margolin), whom he discovers is living in his apartment. ~ Paul Brenner, All Movie Guide

Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. Jewish comedy writer Alvy Singer (Allen) ponders the modern quest for love and his past romance with tightly-wound WASP singer Annie Hall (Diane Keaton, née Diane Hall). The twice-divorced Alvy knows that it's not easy to find a mate when the options include pretentious New York intellectuals and lifestyle-obsessed Rolling Stone writers, but la-di-dah-ing Annie seems different. Along the rocky road of their coupling, Allen/Alvy weigh in on such topics as endless therapy, movies vs. TV, the absurdity of dating rituals, anti-Semitism, drugs, and, in one of the best set pieces, repressed Midwestern WASP insanity vs. crazy Brooklyn Jewish boisterousness. Annie wants to move to Los Angeles to find that fame that finally does in the relationship -- but not before Alvy gets in a few digs at vacuous, mantra-fixated California. Originally entitled Anhedonia (the inability to enjoy oneself), Annie Hall blended the slapstick and fantasy from such earlier Allen films as Sleeper (1973) and Bananas (1971) with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, Annie Hall beat out Star Wars for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. ~ Lucia Bozzola, All Movie Guide

In this drama, a beautiful woman with a taste for married men begins looking at her life in a new way. ~ Sandra Brennan, All Movie Guide

Planet Earth was the second of three look-alike attempts by Star Trek maven Gene Roddenberry to launch a futuristic TV series for the 1970s (the first was 1973's Genesis II, and the third was 1975's Strange New World). John Saxon stars as Dylan Hunt, who awakens from suspended animation in the year 2133. The "big war" has come and gone; one of the few surviving pockets of 20th-century civilization is the city of PAX. This 2-hour pilot film details Hunt's adventures in this Brave New World when he is captured and enslaved by a society run by women. He is rescued by the scientists of PAX, presumably as a means of getting Roddenberry's series off the ground. But except for this film, first aired April 23, 1974, Planet Earth never got into orbit. ~ Hal Erickson, All Movie Guide

Beau Bridges plays an uptight insurance clerk. Ron Leibman plays Bridges' laid-back pal, who talks Beau into skipping work in order to drive Leibman to the airport. This little trip across town turns into an idyllic trek up the California coast. While Leibman wheels and deals in his efforts to con the Establishment, Bridges loosens up with several nubile females, totally forgetting his proper fiancee Janet Margolin. While it has all the earmarks of a typical "youth trip" film of the 1970s, Your Three Minutes Are Up scores with its believable characterizations and its perceptive view of California's mixed-up social values. ~ Hal Erickson, All Movie Guide

Back before he was producing Charlie's Angels, Aaron Spelling was a major supplier of made-for-television feature films, particularly to ABC, on which this movie premiered in 1971. The Last Child takes place in America in 1994, a time in which a massive, chronic overpopulation crisis has resulted in the passage of Draconian laws, declaring that no couple can have more than one child, and that nobody over the age of 65 can receive any but the most superficial medical treatment. Michael Cole and Janet Margolin play a young married couple whose first child died; she is pregnant again, and they now find themselves hounded by the authorities when she refuses to submit to a legally mandated abortion. Chased across country by Population Control agent Edward Asner (a sinister figure in his pre-Mary Tyler Moore period), they plan to escape to Canada but find the border closed. They receive unexpected help from Van Heflin, in his final screen performance, portraying retired U.S. Senator Quincy George, who opposed the Population Control Laws. He shelters Cole and Margolin at great risk to himself, using what political clout and respect he still commands in his own state to block Asner's pursuit. They must find a means of escaping the country, however, as the authorities close in even on this momentarily safe haven. ~ Bruce Eder, All Movie Guide

Gina Lollobrigida delivers a bright comic turn in Melvin Frank's farce concerning Carla, an Italian woman who, during World War II, had affairs with three American soldiers who served in the U.S. Army Air Force -- Phil Newman (Phil Silvers), Justin Young (Peter Lawford), and Walter Braddock (Telly Savalas). Finding that she is pregnant after the squadron is transferred, she convinces each of the three soldiers that he is the father of her child. Phil, Justin, and Walter react to Carla's pregnancy by sending her child-support checks -- checks that Carla has been receiving every month from each of them for the past 20 years. Meanwhile, in order to save face in her village, Carla concocted the story that the father was the fictitious Captain Eddie Campbell, who was killed in action. But Carla's deceptions are about to be exposed when she finds out that all three soldiers are returning to her village with their wives and children for a reunion of the squadron. ~ Paul Brenner, All Movie Guide

Henry Hathaway's film is based on a character from Harold Robbins' The Carpetbaggers, who, in turn, based it on cowboy actor Ken Maynard. Set in the West of the 1890s, the film opens with the torture and murder of the parents of Max Sand (Steve McQueen) by a trio of gunslingers seemingly motivated by their hostility toward the mixed nature of the marriage, since the wife is a Native American. Swearing revenge, the young cowhand enlists the help of itinerant gunsmith Jonas Cord Brian Keith, who teaches him how to shoot while counseling against revenge. Nonetheless, Sand doggedly scours one town after the other before finally running up against one of the murderers, Jesse Coe (Martin Landau). He finally kills Coe in a vicious knife fight, but is severely wounded himself and has to be nursed back to health by Neesa (Janet Margolin), a young Kiowa woman. He next heads for Louisiana where another of the murderous trio, Bill Bowdre (Arthur Kennedy), is serving a prison sentence in a remote swamp. In order to get close to the man, Sand stages a robbery, and is soon among the prison inmates. This was the only film on which McQueen worked with Landau, the only other person admitted to the Actor's Studio out of thousands of applicants in 1957. ~ Michael Costello, All Movie Guide

William Inge co-wrote this story about a young man who may have outgrown the straight-laced boundaries of his home town. After a hitch in the Navy, Bus Riley (Michael Thomas Parks) comes home to the staid Midwestern town of his birth; however, home doesn't feel quite like it used to, and Riley is looking for a new sense of purpose in his life. While his girlfriend Judy (Janet Margolin) tries to offer him the love and understanding he needs, she just isn't enough any more, and Riley soon starts looking for thrills with Laurel (Ann-Margret), a local floozy. Michael Thomas Parks, better known simply as Michael Parks, first put his James Dean-esque loner persona to work in this film; he'd get the most use out of it three years later, when he was top-billed in the briefly popular TV series Then Came Bronson. ~ Mark Deming, All Movie Guide