Stafford Morgan Movies

All poor Blue really wants is to be a regular, suburban Southern California teen from the 1950s, with a boy friend and lots of normal friends. Unfortunately, Fate has other plans. This erotic drama (related to it's predecessor in name and director only) chronicles her experiences. Blue's father is a heroin-addicted jazz musician and her estranged mother is a hooker. The trouble begins when her father, Ham, runs out of heroin and gets too upset to play. Blue procures him a fix, but when he learns that she sold herself to the club owner to get it, he drops dead of shock. Blue continues working at the club, but she is no great shakes in the sex department and the club owner sells her to an upscale brothel that caters to high-ranking government officials. On one of her days off, she meets a handsome young man outside a church. Josh is everything she dreams of, clean-cut and kind. Unfortunately, she cannot tell him of her true profession and they must separate. Blue is despondent and makes a lousy call girl. To try and liven her up a bit, a senator hires her for a private gang bang. He films the festivities, but fortunately, just before she is raped by the depraved politicians, her chauffeur, Sully, who has become her friend, rushes in to save her and they leave town. Eventually they end up in Josh's town. She and Josh fall in love. Unfortunately, the irate madame has come looking for her. To break them up, she show's the young football captain the politician's video-tape of his girlfriend in action. ~ Sandra Brennan, Rovi

"Another basement, another elevator...how can the same thing happen to the same guy twice?" asks John McClane (Bruce Willis), in what is doubtless the key question of this film. A year after foiling the terrorist takeover of a high-rise office building in the first movie, McClane is waiting to pick up his wife, Holly (Bonnie Bedelia), at Dulles International Airport just outside Washington, D.C., on Christmas Eve. Scheduled to arrive the same evening is Ramon Esperanza (Franco Nero), a South American political figure who is being brought to the United States to stand trial for his role in a drug-smuggling ring. However, a group of terrorists, led by renegade American military officer Col. Stuart (William Sadler), take control of the airport, scuttling radio transmissions and placing their own men in the control tower. Stuart and his men ensure that Esperanza's plane lands safely, and then demand that Stuart and his men be given a fully-fueled 747 and free passage wherever they choose to go. Otherwise, they will guide the many circling jets waiting for landing instructions into definite crash landings, killing the many passengers on board. Not willing to stand aside as terrorists once again threaten his wife's life, the wise-cracking McClane once again leaps into action to foil Stuart's plans and bring the passenger jets safely to the ground. William Atherton, John Amos, Dennis Franz, and John Leguizamo highlight the supporting cast. ~ Mark Deming, Rovi

In yet another mindless teen sex comedy, a young man gets a job repairing hot tubs for the rich and famous in Tinseltown, thanks to his parents. As he moves from one bubbly tub to the next, sexual situations change accordingly, but a romance between the young man and a co-worker at the hot tub establishment heats up as they get into hot water together. ~ Eleanor Mannikka, Rovi

In an episode reminiscent of Smokey and the Bandit, young widowed mother Mary Lou Tomkins --played by Janeen Best, daughter of series regular James Best (Sheriff Roscoe)--hides her baby in the General Lee. It is now up to Bo (John Schneider) and Luke (Tom Wopat) to prevent the child from falling into the hands of the hoodlums hired by Mary Lou's grouchy father-in-law, who despises "country bumpkins" and will stop at nothing to reclaim the kid. Meanwhile, Sheriff Roscoe and Deputy Enos (Sonny Shroyer) try to get used to doing their work on horseback (don't ask!) ~ Hal Erickson, Rovi

Adapted from Paul Brodeur's novel, Richard Rush's story of a Machiavellian movie director and his accidental employee takes a darkly comic look at movie reality vs. "real" reality. Running from the law, Vietnam vet Cameron (Steve Railsback) stumbles on a movie shoot just in time to interfere with a staged accident, causing (perhaps) the stunt man's death. Rather than turn Cameron in, director Eli Cross (Oscar nominee Peter O'Toole) makes him an offer he can't refuse: replace the dead stunt man in return for safe harbor. Despite objections about Cameron's inexperience, Eli keeps him on, figuring that a vet will add an extra charge of realism to the World War I opus that he's filming. As leading lady Nina (Barbara Hershey) returns Cameron's affections, and Eli becomes ever more inscrutably mercurial, Cameron begins to wonder how far Eli will go to get the screen effects he wants, and if he would think twice about killing the stunt man. Placing a Vietnam vet in the midst of movie-making chaos, Rush adds a pointedly contemporary spin to Cameron's confusion; the war experience that makes Cameron a good stunt man wreaks havoc on his life. Rush in turn disorients the audience by seamlessly interweaving scenes from Eli's movie with scenes of its being made. Made two years before Rush found a studio to release it, The Stunt Man opened to raves for its wily narrative and O'Toole's messianic director. Its sly commentary on the blurred boundaries between movies and life became all the more striking at the dawn of the Reagan '80s. ~ Lucia Bozzola, Rovi

Nice to see veteran hardcase character actor Charles Napier in a leading role, even if it's in something as eminently forgettable as Big Bob Johnson and His Fantastic Speed Circus. The eponymous Big Bob (Napier) is head man of a spit-and-vinegar auto racing team. Bob's aggregation makes a brief pit stop to save a deserving young man from being swindled by his devious uncle (William Daniels). The upshot of all this is a cross-country race between two souped-up Rolls Royce. Aimed squarely at the Smokey and the Bandit crowd, the made-for-TV Big Bob Johnson debuted June 27, 1978. ~ Hal Erickson, Rovi

Tamara Dobson stars as Cleopatra Jones in Jack Starrett's blaxploitation programmer that, in its own way, deals effectively with the ravages of drugs in inner-city black communities. Cleopatra Jones is a jive female James Bond, a special drug agent for the United States government who wears sleek and hip clothes, drives a fancy car with a submachine-gun compartment in the front door, and travels all over the world to stomp out drugs at their source. Cleopatra has a loving relationship with Ruben (Bernie Casey), the well-meaning head of a drug rehabilitation clinic in Los Angeles. When Cleopatra travels to Turkey to oversee the destruction of poppy fields owned by Mommy (Shelley Winters) -- a lesbian drug dealer -- Mommy becomes upset. She exacts her revenge on Cleopatra by having the police close down Ruben's drug clinic. Nevertheless, Cleopatra continues to wreak havoc upon Mommy's drug business, and Mommy continues to try to do Cleopatra in, until finally there is a major confrontation between Cleopatra and Mommy and her minions. ~ Paul Brenner, Rovi

Together with Orson Welles' Citizen Kane and John Singleton's Boyz 'n the Hood, director Peter Bogdanovich's Targets is among the most impressive first features ever made. When Bogdanovich's cinematic mentor Roger Corman suggested that Bogdanovich might want to make his directorial debut, he offered to "donate" 20 minutes worth of footage of the Corman-directed The Terror and the services of Boris Karloff, who owed Corman two days' worth of work (at a cost of $22,000). Karloff became so caught up in the 29-year-old Bogdanovich's enthusiasm that he agreed to work an additional two days at a bare-minimum salary.

The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.

Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, Rovi