Theresa Merritt Movies

A white youth is killed in a black neighborhood after a botched drug deal. The victim's racist father (Thomas G. Waites) arouses the ire of Lt. Fancy (James McDaniel), resulting in a controversial confrontation. Elsewhere, Greg (Gordon Clapp) and Jill (Andrea Thompson) investigate when an African-born youth finds his mother's butchered body in their refrigerator. And while taking sick leave, Diane (Kim Delaney) suffers a miscarriage. When originally telecast, this episode ended with a surprise musical rendition by the entire cast of "Stop in the Name of Love" (running during the end credits), as a promotion for an upcoming network special commemorating the 40th anniversary of Motown. ~ Hal Erickson, Rovi

Master of infantilism Adam Sandler stars as the title character, an overgrown rich kid who wiles away his days poolside, swilling kegs of beer and appreciating fine nudie magazines such as "Drunk Chicks" -- that is, until his father (Darren McGavin) decides to test his mettle as future head of the family business by posing a challenge: retake and pass grades K-12 in 24 weeks or watch control of the business pass to the requisite conniving underling (Bradley Whitford). Forced into action, Billy vows to change his drunken ways. He enrolls in kindergarten, makes new friends, pelts pint-sized kids with playground balls and develops a love interest in a pretty teacher (Bridgitte Wilson). The action culminates in an academic showdown between Billy and the purportedly Harvard-educated underling for the future of the family enterprise -- no small feat for a man fresh out of the first grade. There's gross, moronic, off-color low humor galore in Billy Madison, particularly in one subplot involving a romantically forward elementary school principal (Josh Mostel, son of theater great Zero Mostel) and his secret former life as a professional wrestler; another scene includes the hypertense school bus driver (Chris Farley, in a typical over-the-top cameo) lying in the meadow with a hallucinatory penguin. As one might suspect, Billy Madison is not for every taste; Sandler fans will laugh from start to finish; others beware. ~ Jeremy Beday, Rovi

In this melodrama, a ballet dancer discovers that she is suffering from cancer and must re-evaluate her life. When she meets up with another young woman who is also ill, the two strike up a friendship. ~ Iotis Erlewine, Rovi

Horror maven Wes Craven attempted a slight change of pace from his usual slasher movie milieu with this chiller loosely based on a true story. Bill Pullman stars as Dennis Alan, a Harvard researcher sent to Haiti by a pharmaceutical company to investigate the zombie legend and any possible connection it might have to a rumored drug that could be used as a new breed of powerful anaesthetic. Once on the Caribbean isle, Alan is aided by a good voodoo priest or "houngan" (Paul Winfield) and his daughter (Cathy Tyson), who runs a local clinic. Alan's search also pits him against an evil houngan, Dargent Peytraud (Zakes Mokae). Peytraud also controls the Tonton Macoute (the Haitian secret police), who are involved with soon-to-be-deposed dictator "Baby Doc" Duvalier. The Serpent and the Rainbow was based on the book of the same name by Wade Davis, an ethnobotanist whose real-life hunt for the zombie drug was credited with cracking the medical mystery behind the myth. ~ Karl Williams, Rovi

"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, Rovi

Marsha Mason is known as "The Goodbye Girl" because of all the live-in boyfriends who have said ta-ta to her in the past few years. A former Broadway chorus dancer, the divorced Mason lives in the Manhattan apartment of her latest lost love with her daughter Quinn Cummings. Enter arrogant actor Richard Dreyfuss, who has subleased the apartment from Mason's former boyfriend and moves in bag and baggage in the middle of the night. Dreyfuss and Mason spend the next few weeks getting in each other's way and fighting like cats and dogs. The wind is taken out of Dreyfuss' sails when he opens in a production of Richard III, which has been sabotaged by the director (Paul Benjamin), who insists that Dreyfuss portrays Richard as a hip-swinging homosexual. The play closes after one performance, and the once-overconfident Dreyfuss goes on a self-pitying drunken binge. Touched by his vulnerability, Mason begins falling in love with Dreyfuss despite her lousy track record with men. Richard Dreyfuss became the youngest ever "Best Actor" Oscar winner as a result of his performance. ~ Hal Erickson, Rovi

Offered up as ABC's "urban" challenge to the bucolic NBC series Little House on the Prairie, That's My Mama premiered opposite Little House on Wednesday, September 4, 1974. In typical sitcom shorthand, the series wastes no time establishing the fact that bachelor barber Clifton Curtis (Clifton Davis) runs a small neighborhood barbershop in Washington D.C. and lives with his widowed "Mama," Eloise Curtis (Theresa Merritt). Having already married off her daughter Tracy (Lynne Moody) to ambitious but stuffy engineer Leonard Taylor (Lisle Wilson), Mama sees no reason why her "swinging" son Clifton should not settle down with a wife himself. But Clifton prefers to play the field -- a habit that tends to reap variable results, as witnessed by the opening episode, in which one of Clifton's exes (played by Judy Pace) shows up at the barbershop claiming that he is the father of her child! Although Ed Bernard is seen as mail carrier Earl Chambers in the first two episodes, Theodore Wilson permanently takes over the role in episode three. Other casting choices worth noting include Berlinda Tolbert (The Jeffersons) in the episode "Clinton's Dubious Romance," Kim Hamilton (Sanford and Son) and Emestine Wade (Amos 'N' Andy) in "Clinton's Sugar Mama," Tim Reid (Sister, Sister) in "Clifton's Persuasion," and Gordon Jump (WKRP in Cincinnati) in the recurring role of Officer O'Reilly. ~ Hal Erickson, Rovi