Ray Moyer Movies

The action never stops in this western, which has a surprise ending. Ann-Margret stars as Mrs. Lowe, a widow who wishes to recover some gold stolen by her husband and hidden away. She says she wants to return it to the bank it was stolen from and clear her family name. In order to do this, she persuades Lane (John Wayne) to ride into Mexico with her and recover the loot. Once they cross the border, they discover two very different pursuers: a large group of bandidos, and a lone horseman who seems to know their every move (Ricardo Montalban). ~ Clarke Fountain, All Movie Guide

A former friend betrays a legendary outlaw in Sam Peckinpah's final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (Kris Kristofferson) ignores the advice of comrade-turned-lawman Pat Garrett (James Coburn) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (Bob Dylan) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like Slim Pickens and Katy Jurado, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier The Wild Bunch (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like The Wild Bunch, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, All Movie Guide

In Lawman, Burt Lancaster is Jered Maddox, a dedicated marshal with an inflexible adherence to upholding the law at all costs. Riding into a nearby town to pick up a group of local carousers who, during a drunken spree, killed an old man, Maddox meets up with Vincent Bronson (Lee J. Cobb). Bronson is the local town boss, and Maddox discovers that the men he is looking for work for him. Unlike most western heavies, Maddox, although he is powerful and unscrupulous, abhors violence. But violence is something Maddox cultivates. A major confrontation between the reluctant Bronson and the intransigent Maddox builds -- particularly when Maddox enlists the help of weak-willed local sheriff Cotton Ryan (Robert Ryan). ~ Paul Brenner, All Movie Guide

Director Mike Nichols and writer-actor Buck Henry followed their enormous hit The Graduate (1967) with this timely adaptation of Joseph Heller's satiric antiwar novel. Haunted by the death of a young gunner, all-too-sane Capt. Yossarian (Alan Arkin) wants out of the rest of his WW II bombing missions, but publicity-obsessed commander Colonel Cathcart (Martin Balsam) and his yes man, Colonel Korn (Henry), keep raising the number of missions that Yossarian and his comrades are required to fly. After Doc Daneeka (Jack Gilford) tells Yossarian that he cannot declare him insane if Yossarian knows that it's insane to keep flying, Yossarian tries to play crazy by, among other things, showing up nude in front of despotic General Dreedle (Orson Welles). As all of Yossarian's initially even-keeled friends, such as Nately (Art Garfunkel) and Dobbs (Martin Sheen), genuinely lose their heads, and the troop's supplies are bartered away for profit by the ultra-entrepreneurial Milo Minderbinder (Jon Voight), Yossarian realizes that the whole system has lost it, and he can either play along or jump ship. Though not about Vietnam, Catch-22's ludicrous military machinations directly evoked its contemporary context in the Vietnam era. Cathcart and Dreedle care more about the appearance of power than about victory, and Milo cares for money above all, as the complex narrative structure of Yossarian's flashbacks renders the escalating events appropriately surreal. Confident that the combination of a hot director and a popular, culturally relevant novel would spell blockbuster, Paramount spent a great deal of money on Catch-22, but it wound up getting trumped by another 1970 antiwar farce: Robert Altman's MASH. With audiences opting for Altman's casual Korean War iconoclasm over Nichols' more polished symbolism, the highly anticipated Catch-22 flopped, although the New York Film Critics Circle did acknowledge Arkin and Nichols. Despite this reception, Catch-22's ensemble cast and pungent sensibility effectively underline the insanity of war, Vietnam and otherwise. ~ Lucia Bozzola, All Movie Guide

Uptight is an updated remake of John Ford's The Informer (35). The Irish Republican rebels of the original are replaced by black activists, Dublin becomes the Cleveland ghetto, and "the troubles" of 1921 are transformed into the days just following the assassination of Martin Luther King. Julian Mayfield plays an itinerant street sweeper who betrays his militant friends to the fuzz, resulting in an underground all-points bulletin to exact vengeance on the squealer. Ruby Dee portrays a prostitute who befriends the snitch as he eludes his revolutionary ex-buddies. Jules Dassin's unrelenting directorial pace is complemented by the driving jazz score of Booker T. Jones. ~ Hal Erickson, All Movie Guide

Compulsive neatnik Felix Unger (Jack Lemmon) is thrown out of his house by his divorce-bound wife. He wanders aimlessly through the streets of New York, toying with the idea of suicide, before gravitating to the apartment of his best friend, incorrigibly sloppy sportswriter Oscar Madison (Walter Matthau). Worried that Felix will try something desperate, Oscar, himself in the process of being divorced by his wife, invites Felix to move in with him. Within a few days, this mismatched pair is on the verge of mutual murder: Felix cannot abide Oscar's slovenliness, while Oscar is driven insane by Felix's obsession with cleanliness. A potentially passionate evening with Oscar's neighbors, the "coo-coo" Pigeon sisters (Monica Evans and Carole Shelley) is ruined when Felix, ruminating over his wife and children, reduces the two ladies to remorseful tears. Pushed to the brink, Oscar stalks around the apartment making as big a mess as possible. Comes the next week's poker game, and the previously vengeful Oscar is worried that Felix might have attempted to do away with himself again. Instead, a surprisingly self-confident Felix shows up to collect his belongings, then announces that he's temporarily moving upstairs with the toothsome Pigeon sisters! There's a laugh a second in this faithful movie adaptation of Neil Simon's hit Broadway play. A foolproof comic situation (allegedly based on a chapter in the life of Simon's brother Danny) is kept alive and healthy by some of the funniest dialogue ever written. The Odd Couple was later adapted into a long-running TV sitcom starring Tony Randall and Jack Klugman. ~ Hal Erickson, All Movie Guide

In this routine western, Captain Tom York (Howard Keel) tries to warn the residents of Deadwood of an impending Sioux Indian attack in the wake of the Custer massacre. The people mistake him for a deserter and pay no heed to Tom's warning. Local gunfighter Ep Wyatt (Scott Brady) convinces the locals that York should be taken seriously and combines forces with the Captain. The two fortify the town with a pair of Gatling guns that are later transported to help defend the cavalry under attack from Sioux warriors. ~ Dan Pavlides, All Movie Guide

Rambling along at its own measured pace, Will Penny is a vivid western character study, completely dominated by the rapport between stars (Charlton Heston) and (Joan Hackett). Heston plays Will Penny, an aging and impoverished cowboy. With his cohorts Blue (Lee Majors) and Dutchy (Anthony Zerbe), the trio sets out to find employment before winter sets in. Their job search is interrupted by the sudden appearance of Preacher Quint, a vicious Bible-thumping bandit (Donald Pleasance) and his moronic, sadistic sons. Dutchy gets wounded in the fight and Blue stays with him in a small town nearby to nurse him back to health. Will gets a job on a ranch, and though he is supposed to keep squatters off the land, he can't kick out Catherine (Joan Hackett) and her little son (Jon Gries). She herself is en route to join her husband, an Oregon farmer. Despite her wedding vows, Catherine finds herself drawn to Penny -- who makes no unwarranted move towards the woman, but is equally attracted to her. Then the murderous Quint and his sons reappear to exact their revenge. ~ Hal Erickson, All Movie Guide

Rick Richards (Elvis Presley) is a helicopter pilot who is grounded when his chopper runs federal aviation official Donald Beldon (John Doucette) off the road in Paradise, Hawaiian Style. Already suspended as a airline pilot, he and partner Danny Kohana (James Shigeta) struggle to keep their business flying. Suzanna Leigh plays the pretty secretary, but Elvis does not limit his affections to just one girl. Technical credits and locations scenes of the beautiful islands are the highlight of the film. Presley warbles his usual slew of songs, but most are unremarkable. ~ Dan Pavlides, All Movie Guide

In this western, a world-weary bounty hunter begins working for an avaricious crook who wants to destroy the good name of a little town so that the railroad will be built across his land. To enact his plan he brings a notorious gambler to town. He also establishes a brothel in the saloon. The sheriff and the good townspeople protest, but the villain takes care of him. This angers the bounty hunter, who has come to like the lawman and he turns against his boss. ~ Sandra Brennan, All Movie Guide

Marc Camoletti's popular stage farce Boeing Boeing is watered down and realigned into a Tony Curtis/Jerry Lewis vehicle. Curtis plays an American journalist living in Paris; Lewis is his goonish (but surprisingly restrained) buddy. Partial to stewardesses, Curtis manages to juggle the affections of three luscious flight attendants (Dany Saval, Christiane Schmidtmer, and Suzanna Leigh), whose schedules are such that their visits to Curtis' bachelor pad never overlap. Complications ensue when the Boeing company speeds up its air service, and when Lewis tries to muscle in on Curtis' "racket." The best lines go to Thelma Ritter as Curtis' disapproving housekeeper. ~ Hal Erickson, All Movie Guide

In this comedy classic, Jerry Lewis plays Jerome Littlefield, an orderly in a mental hospital in this slapstick situation comedy that makes full use of Lewis's patented brand of screwball comedy. Dr. Jean Howard (Glenda Farrell) is the exasperated head of the sanitarium who almost becomes a patient after the antics of the frantic employee. Jerome takes on the symptoms of most of his patients and helps Susan Andrews (Susan Oliver) go from a woman considering suicide to an alluring woman of sensual confidence. When talkative patient Alice Pearce relates her maladies to Jerry, he hilariously has psychosomatic symptoms that mirror those of the woman. ~ Dan Pavlides, All Movie Guide