Billy Beck Movies

In the tradition of the Evil Dead series comes this occult horror comedy from director Jay Lee. When a group of college students take a job cleaning an old house, they expect little more than a few extra bucks in their pockets. But when they discover an ancient book of spells, they get far more than they bargained for. Before long, an unspeakable evil is unleashed and the bodies begin to pile up. ~ Matthew Tobey, Rovi

Leo (Brian Krause) is ordered by his fellow Avatars to protect the demon seer Kira (Charisma Carpenter) in order to obtain information necessary to vanquish all other demons. At the same time, the Charmed Ones share Kira's latest vision, leading them to believe that the best of all possible worlds will be one ruled by the Avatars. Meanwhile, Kira's fellow demons release the dreaded, all-powerful Zankou (Oded Fehr, in his first series appearance) to counteract her "treason"; and Paige (Rose McGowan) and Phoebe (Alyssa Milano) are diametrically opposed in their feelings toward the "helpful" Brody (Kerr Smith). ~ Hal Erickson, Rovi

A thwarted leprechaun exacts his bloody revenge in this darkly comic horror film. A thousand years ago in Ancient Erin, there lived a wee Leprechaun who searched for a comely bride. Legend has it that his proper bride would thrice sneeze. Poor Leprechaun did find his sneezing lass, but just before the third achoo, her daddy, the Leprechaun's slave, thwarts his plans. Angry, the wee man vows to exact his revenge upon the man's fairest ancestor 1,000 years hence. Time flies and the movie moves to modern California on St. Paddy's day. The Leprechaun returns to find the lovely Bridget sneezing. Once. Twice. Thrice. He captures hapless Colleen. To her rescue comes her fearless boyfriend Cody who steals a bit of gold from the Leprechaun. Enraged, the greedy greeny begins systematically killing people. Will Cody prevail? ~ Sandra Brennan, Rovi

Brain Donors is a game attempt to redo the Marx Brothers' A Night at the Opera in a contemporary setting. John Turturro plays the "Groucho" character, a shifty lawyer (he's even given a Grouchoesque three-barrelled moniker). Bob Nelson is the "Harpo" counterpart, a puckish handyman. And Mel Smith completes the trio as a Chico-like cabbie. All three conspire to save a failing ballet company on behalf of dowager Nancy Marchand, who does a film-length impersonation of Margaret Dumont. At times, Pat Proft's script comes off more like a 3 Stooges short than a Marx Brothers romp, but that's not so bad. What hurts the film is its fluctuating pace, which shifts into neutral just when it should go into hyperdrive. Will Vinton's Claymation opening titles supply some of the film's biggest laughs. ~ Hal Erickson, All Movie Guide

Pregnant Christine (Markie Post) enlists Harry (Harry Anderson), Bull (Richard Moll) and Dan (John Larroquette) as her Lamaze-class coaches, only to realize that she might have been better off with Moe, Larry, and Curley. The bulk of this episode is devoted to a series of fantasy sequences, wherein each of the male coaches imagines the influence they will have on Markie's child. But their imaginings are trumped by a fourth fantasy, this one conjured up by Christine herself. ~ Hal Erickson, Rovi

Jeff Daniels stars in this tedious situation comedy concerning the middle-aged terror of illness and mortality. Scripted by Joe Eszterhas, Daniels plays Southern Californian Ray Macklin, who thinks he will live forever but realizes the fallacy of his idea when his best friend drops dead in front of him after issuing the set-up to the old joke, "Why don't Italians like barbecues?" (Which begs the question, "Why can't Joe Eszterhas write funny scripts?" The answer: "He did. Showgirls.") Anyway, after that shock trauma, Macklin becomes convinced that he is set to suffer the same fate and, as a result, becomes a raving hypochondriac. As Macklin continually clutches his chest and checks his heart monitor, he sinks himself deeper and deeper into the mindset that he is doomed, even though his tests turn out fine. All of this comes to a head in a bizarre dream sequence in which Macklin imagines Heaven as a Hawaiian resort populated by extras from a Federico Fellini picture. At that point, he wills himself to return to consciousness after surgery to remove his appendix. ~ Paul Brenner, Rovi

After the phenomenal box-office and critical success of David Cronenberg's 1986 remake of The Fly, a series of big-budget remakes of '50s horror favorites rode in on its coattails in the late 1980s -- though none managed to rise above mere camp clones of their elders, albeit garnished with modern makeup effects in an attempt to draw modern teen horror-junkies. One remake that managed to live up to its cheesy inspiration was Chuck Russell's version of The Blob, in which the title goo crashes to earth and promptly begins digesting the residents of a small California town while growing to gargantuan proportions. The clean-cut teen hero originally portrayed by Steve McQueen (his first starring role) is replaced here with a rebellious outsider (Kevin Dillon) whose preppie rival (Donovan Leitch) for the affections of the cute heroine (Shawnee Smith) is quickly eliminated by the all-consuming space-gelatin. No sooner has the plasma menace set up house in the town sewers when a shadowy government Blob Squad shows up under the direction of the grandfatherly Dr. Meddows (Joe Seneca), to clean up the mess... or not. This high-spirited remake replaces the '50s "Daddy-O" conventions of the original with '80s cynicism -- not even likeable characters are spared from the slaughter -- and anti-government sentiment. It also pushes the gore envelope in ways unavailable to its low-budget parent -- e.g. the scene in which one victim is sucked through a sink drain was only hinted at in the 1958 film, but here viewers are treated to the entire bone-crunching ordeal. Though the quality of blob effects seems inversely proportional to the creature's size (some of the climactic "wall-of-blob" footage is painfully cheap-looking), the end result is more blob for the monster-movie fan's dollar. ~ Cavett Binion, Rovi

Management consultant Diane Keaton has no time in her life for anything except her high-profile job. All this changes when she inherits a 14-month-old infant from a pair of recently deceased-and very distant-relatives. Intending to put the child up for adoption, she discovers that she has grown fond of the kid and has begun to thrive on the responsibilities of motherhood. All of this, of course, jeopardizes Keaton's love life and professional standing, but all turns out well when the baby inadvertently leads to a whole new moneymaking agenda for our heroine. Capraesque in concept, Baby Boom avoids phony sentiment and obvious humor, emerging as one of the singular comic delights of the late 1980s. On great bit has Keaton "celebrating" a major business coup by surreptiously performing an under-the-table jig (a bit of business that dates back to the 1924 Reginald Denny comedy Skinner's Dress Suit). Baby Boom was spun off into a TV sitcom in 1989, with Kate Jackson filling Diane Keaton's designer shoes. ~ Hal Erickson, Rovi

A mild box-office hit for New World Pictures, this lightweight attempt at horror parody from Friday the 13th producer Sean S. Cunningham stars former Greatest American Hero William Katt as a best-selling pop-horror novelist Roger Cobb (à la Stephen King) who suffers an insurmountable case of writer's block after separation from his soap-star wife (Kay Lenz) and the disappearance of their young son. Hoping to purge his personal demons by writing his Vietnam War memoirs, he moves into the massive mansion once occupied by his deceased aunt (who hanged herself in her bedroom), and finds himself surrounded by demons of a completely different kind. Roger takes the weirdness in stride, attempting to face down marauding monsters, interdimensional trap doors, and other supernatural horrors while concealing his predicament from the neighbors (except for the befuddled Harold Gorton [George Wendt], who tries gamely to play along with Roger's hare-brained monster-fighting schemes). ~ Cavett Binion, Rovi

Betsy Russell takes over as part-time prostitute Molly Stewart in this disappointing sequel to the surprisingly good Angel (1984). Old pals Rory Calhoun and Susan Tyrrell are along for the search for the killer of the cop who saved Molly's life in the first film, joined by street magician Johnny Glitter (Barry Pearl). More brutal and hard-edged than the original, this installment is just another violent action movie, despite some slick camerawork and a fast pace. One peculiar touch is the frequent use of Bronski Beat's savage dance hit "Why?" which, although it has appropriately exciting music, it concerns gay-bashing and has no relation whatsoever to the storyline. ~ Robert Firsching, Rovi

The latest client of the Blue Moon Detective Agency is Kathleen Kilpatrick (Alexandra Johnson), an Irish lass who claims to be a leprechaun. Kathleen hires David (Bruce Willis) and Maddie (Cybill Shepherd) to protect her pot of gold--and herself--from a sinister criminal. Although the detectives have their doubts about Kathleen's authenticity as a leprechaun, there is no doubt that a very dangerous individual is out to get her. This week's chase climax occurs in and around an airport luggage carousel, leaving our two protagonists positively giddy. ~ Hal Erickson, Rovi

Micki (Ann Reinking) is the wife of Rob (Dudley Moore), an airheaded TV talk show host. Maude (Amy Irving) is an attractive musician who is unaware of Micki's existence, and with whom Rob falls in love. Rob is a guy who can't say no, thus when Maude announces that she's pregnant, Rob obligingly marries her. Trouble is, he's still married to Micki who is also pregnant. To make matters worse, Rob's wives are due to give birth on the same day, forcing the double dealer to work doubly hard to keep both demanding women happy. Matters reach their comical climax when the Big Day arrives and Rob is expected to attend both births at the same time. ~ Hal Erickson, Rovi