Craig T. Nelson Movies

Produced during the short-lived "porno chic" period of the early to mid-'70s, Flesh Gordon was a (relatively) big-budget, adults-only parody of the Flash Gordon serials of the 1930s, boasting amusing special effects and some fine stop-motion animation from Jim Danforth (who used an assumed name for the credits -- his own name spelled backwards) and Dave Allen. Flesh Gordon and his lady love Dale Ardor do battle with Emperor Wang from the Planet Porno (the names give you an idea of the level of humor) as they encounter a Penisaurus, rapist robots, a Lesbian Land, and a requisite amount of sex and nudity. The original version featured hardcore sex sequences, though the film was trimmed to a soft-X not long after its initial release and was in time cut further to an R. Co-produced by hardcore pioneer Bill Osco. ~ Mark Deming, Rovi

Norman Jewison's blackly satirical look at the American justice system has gained in stature as one of the more incisive social commentaries of its time. Al Pacino plays Arthur Kirkland, an incorruptible attorney who attempts to initiate reforms in the Maryland justice system. Kirkland is haunted by the fates of two past clients, one of whom committed suicide in jail; the other is still alive but is locked up on a trumped-up traffic violation. The ability of power and money to distort the pursuit of justice becomes all too clear as Kirkland finds out how deeply the rot has spread. He finally retaliates by representing a repulsive judge (John Forsythe) accused of rape. Pacino's and Forsythe's performances are intense and powerful. Many critics found the film biting and almost painful in its razor-sharp indictment of the justice system, while others declared the script too outrageous. ~ Don Kaye, Rovi

Lightning Over Water is a penetrating documentary of the last days of cult film director Nicholas Ray. The film was lovingly assembled by Wim Wenders, whose idolatry of Ray is obvious in virtually every frame of his own work. Dying slowly of cancer, Ray reflects on a lifetime of accomplishments, failures and compromises, with plenty of screen time given over to his reminiscences of Joan Crawford, James Dean and others who appeared in his films. Most of the film was lensed in Ray's modest New York City loft, a sharp and poignant contrast to the comparative luxury of his Hollywood years. Lightning Over Water has also been released as Nick's Film. ~ Hal Erickson, Rovi

After the excellent audience response to their teaming in Silver Streak, Gene Wilder and Richard Pryor reunited for this zany comedy. Wilder and Pryor play a couple of out-of-work numbskulls who take a promotional job that requires them to dress up like gigantic woodpeckers. Unfortunately, a pair of thieves, likewise decked out in woodpecker suits, pull off a bank job not long after Wilder and Pryor make their first public appearance. The boys are arrested and sentenced to 120 years each (at this point, we know we're not dealing with real life). After a concerted (and hilarious) effort to make the best of things "in stir," Wilder and Pryor break out of jail, hoping to track down the genuine thieves. The mess never really works itself out, suggesting that perhaps the stars had a Stir Crazy II lurking in the recesses of their minds. Written by Bruce Jay Friedman and directed by Sidney Poitier, it never did spawn a sequel, though a TV series spin-off, starring Larry Riley and Joseph Guzaldo, briefly surfaced in 1986. ~ Hal Erickson, Rovi

Based on the writings and experiences of "gonzo" journalist Hunter S. Thompson, Where the Buffalo Roam details the adventures of Thompson (Bill Murray) and his attorney (Peter Boyle), whose character is rewritten as Mexican-American rather than Samoan, as they pillage and plunder their way across America on a drunken, drug-saturated mission to...well, their mission is as yet undetermined, but they set about it anyway. Highlights include a staged broadcast of the Super Bowl from Thompson's hotel room and a scene in which he escapes from the police with a little help from his trusty sidekick. ~ Jeremy Beday, Rovi

Devastated when her brand-new husband Albert Brooks) drops dead on their wedding night, Jewish American princess Judy Benjamin (Goldie Hawn) is receptive to the pitch delivered by a duplicitous recruiter for the Women's Army Corps. Quickly adivsed by topkick Captain Lewis (Eileen Brennan) that she should not look forward to the private room, fancy clothes and sauna bath that she'd been promised, Judy is forced to go through basic training like any other "grunt". This turns out to be a real growth experience for the pampered Private Benjamin, who for the first time in her life has to work for her privileges. A brief misadventure with a lascivious paratroop officer (Robert Webber) nearly sours Judy on army life, but she turns out to be a darned good soldier-and a woman with a highly developed sense of self-esteem, which enables her to weather a further disappointing romantic fling with French phsycian Henri Tremont (Armand Assante). Private Benjamin turned out to be one of Goldie Hawn's most profitable vehicles. The 1981-82 TV sitcom spinoff starred Lorna Patterson in Goldie's role, with Eileen Brennan repeating her film characterization of the long-suffering Captain Lewis. ~ Hal Erickson, Rovi

The Chicago Story was the two-hour pilot film for the subsequent TV series. The wounding of a 10-year-old girl by a sniper is seen through the eyes of three sets of Chicago professionals. Vincent Baggetta and Craig T. Nelson are the defense and prosecuting attorneys respectively (they'd been roommates while in law school). Kristoffer Tabori and Kene Holliday are the doctors ministering to the victim. And Jack Kehoe and Dennis Franz are the cops who must track down the unknown assailant. When Chicago Story became a series proper, most of the TV movie's leading actors, with the exception of Jack Kehoe, were retained as regulars. ~ Hal Erickson, Rovi

With Poltergeist, directed by Tobe Hopper, Steven Spielberg had his first great success as a producer. Released around the same time as Spielberg's E.T., the film presents the dark side of Spielberg's California suburban track homes. The film centers on the Freeling family, a typical middle class family living in the peaceful Cuesta Verde Estates. The father, Steve (Craig T. Nelson), has fallen asleep in front of the television, and the dog saunters around the house revealing the other family members -- Steve's wife Diane (JoBeth Williams), sixteen-year-old daughter Dana (Dominique Dunne), eight-year-old son Robbie (Oliver Robins), and five-year-old Carol Ann (Heather O'Rourke). Soon strange things begin to happen around the house; the pet canary dies, mysterious storms occur, and Carol Ann is summoned to the TV set, where a strange shaft of green light hits her and causes the room to shake ("They're he-e-ere!"). As curious events continue, Carol Ann is repeatedly drawn to the television, where she begins to talk to "the TV people." Soon Carol Ann is sucked into a closet, disappearing from this reality plane. Unable to find his daughter, Steve consults Dr. Lesh (Beatrice Straight), a para-psychologist from a nearby college. Lesh finds that paranormal phenomena is so strong in the Freelong household she is unable to deal with it and sends for clairvoyant and professional exorcist Tangina (Zelda Rubinstein) to examine the house in hopes of finding Carol Ann. Tangina makes a horrifying discovery: Carol Ann is alive and in the house, but is being held on another spectral plane. ~ Paul Brenner, Rovi

In this melodramatic story, a college professor and his family experience trauma and tears when the professor discovers that his one-time lover in France has recently died and left a son behind -- his son. When the young boy shows up on the doorstep because the shocked father can only do what is right and offer him a home, the professor (Martin Sheen), his wife (Blythe Danner), and their children -- as well as the boy -- face new issues in a crisis that threatens the once-cohesive family. Both Sheen and Danner carry their roles beyond the sappy limitations of the script, but neither can change an unsatisfactory ending meant only to bring out another handkerchief. ~ Eleanor Mannikka, Rovi

Based on a true story, Silkwood begins and ends with Karen Silkwood (Meryl Streep) driving along a lonely road in 1974, heading to a meeting with a New York Times reporter to deliver evidence of negligence at the Kerr-McGee Plant in Cimarron, Oklahoma. The balance of the film flashes back to Karen's ribald private life with her lover (Kurt Russell) and her loose-living friends (Cher and Diana Scarwid). This is in contrast to her humdrum job at Kerr-McGee--or it least it was humdrum until Karen and several other employees become contaminated by radiation. The higher-ups want to sweep this incident under the rug, but Karen thinks that something's fishy, and informs the union of that fact. X-rays of the faulty fuel rods and written proof of the inadequate safety measures that caused Karen's illness are tampered with, forcing Karen to conduct her own private investigation. As she gathers evidence, Karen becomes a pariah to her boyfriend because of her obsession. She finally organizes the evidence into a briefcase, and heads off to her meeting with the Times reporter. She never makes it; the "official" report on her fatal auto accident is that Ms. Silkwood had been drinking and was under the influence of tranquilizers. Kerr-McGee was eventually forced to pay the Silkwood family an enormous settlement because of her contamination, but the full facts behind her convenient accident have never been revealed (though the filmmakers clearly indictate whom they hold responsible). Director Mike Nichols and screenwriters Nora Ephron and Alice Arlen surround this true story with a lively, improvisational atmosphere that gets the best out of Streep, Russell, and Cher, while providing perhaps the fullest on-screen realization of Nichols' theater-based techniques of realistic, character-centered, dialogue-driven filmmaking, as well as one of the first movie screenplays from future director Ephron. ~ Hal Erickson, Rovi

The Killing Fields is a romanticized adaptation of an eyewitness magazine story by New York Times correspondent Sidney Schanberg. Covering the U.S. pullout from Vietnam in 1975, Schanberg (Sam Waterston) relies on his Cambodian friend and translator Dith Pran (Haing S. Ngor) for inside information. Schanberg has an opportunity to rescue Dith Pran when the U.S. army evacuates all Cambodian citizens; instead, the reporter coerces his friend to remain behind to continue sending him news flashes. Although his family is helicoptered out of Saigon (a recreation of the famous TV news clip), Dith Pran stays with Schanberg on the ground. Racked with guilt, Schanberg does his best to arrange for Dith Pran's escape, but the Cambodian is captured by the dreaded Khmer Rouge. Accepting his Pulitzer Prize on behalf of Dith Pran, Schanberg vows to do right by his friend and extricate him from Cambodia. The rest of the film details Dith Pran's harrowing experiences at the hands of the Khmer Rouge, and his attempt to escape on his own. The Killing Fields won Academy Awards for Hang S. Ngor (a Cambodian doctor who lived through many of the horrific events depicted herein), cinematographer Chris Menges, and editor Jim Clark; an Oscar nomination went to Roland Joffe, who made his directorial debut with this film. Spalding Gray, who played a small role in the film, later elaborated on this experiences in his one-man stage presentation Swimming to Cambodia. ~ Hal Erickson, Rovi

Alex: The Life of a Child is based on the true story of Sports Illustrated writer Frank Deford and his dying 8-year-old daughter Alex. Craig T. Nelson plays Deford and Gennie James is Alex, both of whom come to grips in different ways with Alex's fatal cystic fibrosis. A subplot involves the torment of Deford's wife (Bonnie Bedelia), who wonders whether she should adopt a child after Alex's death in 1980. Alex: The Life of a Child is effective, but not as well made as its subject matter deserves. Better examples of this particular TV-movie genre include Death be Not Proud (75), based on author John Gunther's recollections of his son's struggle against a degenerative brain tumor, and Mary White (77) the story of a personal tragedy in the life of Kansas journalist William Allen White. ~ Hal Erickson, Rovi