John Marley Movies

Produced for HBO, The Glitter Dome is based on the crime novel by Joseph Wambaugh. Manhattan detectives Al Mackey (James Garner) is forced to wade his way through the glamorous cesspool known as Hollywood. Mackey's quarry is the unknown person who brutally murdered studio mogul Malcolm Sinclair (Alistair MacDuff). Providing a brief diversion for the diligent Mackey is Margot Kidder as eccentric young actress Willie. Also on hand is James Garner's Rockford Files cohort Stuart Margolin, who, in addition to directing the film, plays the murder victim's smarmy nephew. When first telecast on November 11, 1984, The Glitter Dome was criticized for a brief bondage sequence involving Margot Kidder: in retrospect, however, the scene serves to affirm the integrity and decency of the character played by Garner. ~ Hal Erickson, Rovi

CIA computer technician John Savage seeks revenge for the terrorist killing of his girlfriend. Threatening to make public his insider's information, Savage forces his reluctant bosses to train him in the art of assassination. He then heads into enemy territory (at least, it was enemy territory back in 1982) on a search-and-destroy mission. There is nothing in The Amateur that we haven't seen elsewhere, but Savage and a solid cast of supporting players Christopher Plummer,Marthe Keller, Arthur Hill, Ed Lauter, Nicholas Campbell, Jan Rubes et. al.-- keep the proceedings lively. Robert Littell co-adapted the film's screenplay from his own novel. ~ Hal Erickson, Rovi

John Marley reprises his characterization of movie mogul Lou Woltz -- here renamed Leonard Bernstein (Where did they come up with that one?) -- in tonight's extended spoof of The Godfather. This epic also includes an ersatz guest appearance by Luciano Pavarotti (John Candy), the cast of The Andy Griffith Show, and the executives of NBC, ABC, CBS, and PBS -- all of whom declare a network "turf war" on HBO. "3-D House of Beef," a combination horror flick and restaurant commercial, finds Count Floyd (Joe Flaherty), Dr. Tongue (John Candy), and Bruno (Eugene Levy) persuading musical guest star James Ingram to sing "Just Once." Also: a promo for the SCTV Movie of the Week "The Vikings and the Beekeepers"; and the McKenzies (Rick Moranis, Dave Thomas) reveal the secrets behind long underwear and overcooked back bacon. ~ Hal Erickson, Rovi

Actress and popular culture icon Marilyn Monroe is the subject of yet another made-for-television movie. This film, which aired as part of the on-going Moviola series, chronicles young Marilyn's (Constance Forslund) relationship in both business and her personal life, with agent Johnny Hyde (Lloyd Bridges) during the early part of her career. ~ Bernadette McCallion, Rovi

This film profiles the early career of Marilyn Monroe when she develops a relationship with her Hollywood agent, Johnny Hyde. (AKA This Year's Blonde) ~ Rovi

Greatest Heroes of the Bible: The Ten Commandments tells the dramatic story of Israel's journey from Egypt and Moses' reception of the gift of God's law. Chosen by God to lead his people out of slavery, Moses shepherds the Israelites along their rocky road to freedom. But the journey is full of hardship. When the people lose faith, they fall prey to lust and greed and begin to worship a golden idol. Moses waits on Mount Sinai for God's message and a fateful encounter that will change the lives of the Israelites and the future of mankind. The video runs 50 minutes. ~ Betsy Boyd, Rovi

Writer-director Larry Cohen followed his ragged but interesting horror hit It's Alive! with this sequel, which surpassed the original in both creativity and technical expertise. The story opens as another expectant couple, Eugene and Jody Scott (Frederic Forrest and Kathleen Lloyd), are paid a surprise visit by a stranger who turns out to be Frank Davies (John P. Ryan), the father of the original monster baby from the previous film. Davies warns the couple that their unborn child may be similarly at risk, and thereby in mortal danger from a nationwide task force dedicated to destroying the monster infants. Despite their initial apprehension, the Scotts eventually place a tenuous trust in the stranger, who explains that the children are not subhuman animals, but may actually represent the next step in human evolution -- a view shared by members of an underground organization devoted to the protection and study of the children. Davies secretes Eugene and Jody in this group's hideout so that they can attend to the birth of the child in safety. Discovering that their newborn is indeed one of the same mutants, the Scotts undergo a traumatic test of familial integrity, much like that of the Davies family in the previous film. Their emotional turmoil is further compounded by an assault on the compound by members of a rival underground dedicated to eradicating the monster babies, which leads to a grim and violent confrontation. This time out, Cohen is far more assured at the helm, stabilizing his vision with a more elaborate script, higher budget, and good performances. On the downside, the monster-baby FX haven't particularly improved since the previous outing, but Cohen has the good sense to keep the little rubber beasties fairly well-hidden. ~ Cavett Binion, Rovi

Larry Cohen's pseudo-biography of J. Edgar Hoover (Broderick Crawford) was virtually howled off the screens upon its release in 1977. Today, with the cross-dressing Hoover so much a matter of historical record that even Oliver Stone didn't bother to make too much of a point of it in Nixon, the Cohen film plays more like a dramatic re-enactment rather than the puerile paranoid fantasy it appeared to be at the time. Unfortunately, Cohen's method is part exploitation and part historical tableau. On the one hand, Cohen dramatizes historical moments in Hoover's momentous life story -- the shooting of John Dillinger in front of Chicago's Biograph Theater, his first arrest -- with a deadening solemnity (even abandoning the backlot facsimiles to shoot on the actual historical locations). On the other hand, Cohen relishes his scenes of Hoover's homosexuality and his propensity for sitting in the dark with a bottle of whiskey, replaying tapes of the amorous liaisons of high government officials -- the decadently homosexual Hoover built his political power base by getting all the dirt he could on the government's movers and shakers -- particularly their sexual liaisons -- and blackmailing them for their support when he could not get it in any other way. A true schizophrenic masterwork in its time, the film is now muted by a reality more incredible than Cohen ever imagined in his wildest dreams. ~ Paul Brenner, Rovi

A marathon fundraiser held in exciting Las Vegas finds itself beset by behind-the-scenes romance and danger in this drama. ~ Sandra Brennan, Rovi

A murderous car wreaks havoc on a small Western town in this thriller that has gone on to achieve a small degree of cult status in spite of its own silliness. After a pair of bikers and a horn-playing hitchhiker are viciously mowed down, local police realize they have a motoring maniac on their hands. In a show of boldness, the mysterious black automobile kills the sheriff (John Marley) on the town's main street, leaving the post to officer Wade Parent (James Brolin). A supernatural element enters the picture when the car motors through a parade practice, but refuses to enter the hallowed ground of a cemetery. The cops chase the car through the desert, but it takes out several squad cars and disappears after injuring Wade. Things take a personal turn when the car eliminates Wade's girlfriend Lauren (Kathleen Lloyd) in a shocking sequence. Gathering his remaining officers, Wade concocts a plan to stop the horsepower-laden psychopath. ~ Patrick Legare, Rovi

W.C. Fields and Me is the film version of the Fields biography written by the comedian's former mistress Carlotta Monti. W. C. Fields was a great comedian in vaudeville and early talking films, who was noted for his ability to say the most hilariously cutting and mean things in a cheery, bright tone of voice. He had amazing skills in the manipulation of objects, from pieces of paper to crooked cue sticks. Rod Steiger plays Fields, while Valerie Perrine portrays Ms. Monti. Jack Cassidy is also on hand as Fields' close friend and drinking crony John Barrymore. The film is not above sacrificing facts for a good story, notably in its recreation of Fields' celebrated "dentist" routine which. W. C. Fields and Me depicts the great juggler/comedian as a straightforwardly mean-spirited man, whereas he is generally believed to have been more complex than that. ~ Hal Erickson, Rovi

Tony Baretta (Robert Blake) maintains a 24-hour surveillance on drug kingpin Durone (John Marley), who is expecting a multi-million-dollar shipment. Durone knows that he's being watched, and Baretta knows that he knows. The relentless undercover cop is also fully aware that Durone is in mourning for his recently deceased wife -- a fact that Baretta hopes will break the aging drug lord's spirit. ~ Hal Erickson, Rovi