John Medici Movies

First telecast in early 1985, the 2-hour pilot film for the lighthearted TV detective series Moonlighting opens with fashion model Maddie Hayes (Cybill Shepard) discovering that her business manager has skipped with her fortune. The only asset she has left is the ramshackle Blue Moon Detective Agency, manned by acerbic David Addison (Bruce Willis). Maddie takes an immediate dislike to David, while he considers her a sexual conquest-to-be. The twosome continues to bicker their way through their first case, pausing for amenities only when it appears that both of them are about to be bumped off. Once safely back in the office, their verbal guerilla warfare resumes, leading the viewer to expect marvelous things from the subsequent Moonlighting TV series. Little of the series' fabled self-consciousness (talking directly to the audience, making references to the quality of the scriptwriting, etc.) surfaces in the Moonlighting pilot, but the film works well despite this "drawback." The series itself ran (or, as it turned out, limped) until May of 1989. ~ Hal Erickson, Rovi

In Richard Benjamin's directorial debut, Mark Linn-Baker stars as Benjy Stone, junior writer on the popular 1950s TV comedy/variety series The King Kaiser Show. Kaiser (Joseph Bologna)'s guest star this week is Hollywood matinee idol Alan Swann (Peter O'Toole), a swashbuckling Errol Flynn type, right down to his indiscriminate womanizing and fondness for mass quantities of booze. Stone is assigned to keep the actor out of trouble during rehearsals and deliver him sober to the performance. Becoming fast friends, Stone and Swann alternate baby-sitting responsibilities: Swann takes the young writer to the Stork Club and on an early-morning jaunt through Central Park with a "borrowed" police horse, while Stone takes Swann to his home, where the star is fawned over by Benji's mom (Lainie Kazan) and asked embarrassing questions about his love life by Uncle Morty (Lou Jacobi). Despite a few anxious moments, all goes well until Swann, panicking at the discovery that King Kaiser's show will be telecast live and not on film, walks out just before airtime. Shamed by Benjy into honoring his committment, Swann makes a spectacular, timber-smashing entrance, saving the show and rescuing Kaiser from being rubbed out by a gangster (Cameron Mitchell) whom the comedian has offended. The film co-stars Jessica Harper, Gloria Stuart and Selma Diamond, a real-life comedy writer for Sid Caesar. My Favorite Year was converted into an unsuccessful Broadway musical in the early 1990s. ~ Hal Erickson, Rovi

The sequel to the popular 1979 TV movie And Baby Makes Six, Baby Comes Home reteams Colleen Dewhurst and Warren Oates as middle-agers who find themselves the parents of a newborn child. The first film dealt with the impact of the 47-year-old mother's unexpected pregnancy on her three grown children, as well as on her own well-ordered lifestyle. The sequel concentrates on the alienating effect that Dewhurst's affection towards her baby has on the rest of her family. Both And Baby Makes Six and Baby Comes Home were intended as pilot films for a weekly series, though one wonders if the ever-busy Colleen Dewhurst would have found the time to star in such a project. The point is a moot one: The series never sold. ~ Hal Erickson, Rovi

Quincy (Jack Klugman) is outraged to discover that an accident victim had died when he was refused admittance to the hospital run by Dr. Chet Rawlins (James Karen). Investigating, Quincy finds out that Rawlins' hospital regularly turns away emergency cases if they are unable to pay for treatment--and that this isn't the first time that someone has died unnecessarily because of this discriminatory policy. It now falls to Quincy to prevent Rawlins from purchasing another hospital and causing future tragedies with his greed and callousness. ~ Hal Erickson, Rovi

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon. ~ Lucia Bozzola, Rovi