Charles Parks Movies

Detective Stu Morrissey (Conor O'Farrell) thinks that a father knows more than he's letting on about a missing baby. Medavoy (Gordon Clapp) makes a bet that he can lose more weight than Sipowicz (Dennis Franz). Martinez (Nicholas Turturro) campaigns to be elected the squad's union delegate. Bobby Simone (Jimmy Smits) has a run-in with Henry (Willie Garson) when a woman is killed outside the building Simone inherited from Henry's aunt. And Bobby and Dianne Russell (Kim Delaney) talk over their relationship. ~ Hal Erickson, All Movie Guide

Even as Next Generation was drawing to a close, it was business as usual on Deep Space Nine, as indicated this episode, which was originally broadcast on May 21, 1994. The search is on for a Cardassian collaborator who was responsible for the slaughter of 43 Bajorans. In the course of the investigation, Kira must face the possibility that the guilty party may be Vedek Bareil (Philip Anglim), the man she loves. "The Collaborator" was scripted by Gary Holland from a story by Holland, Ira Steven Behr, and Robert Hewitt Wolfe. ~ Hal Erickson, All Movie Guide

NYPD Blue was already off and running in its debut episode, in which Detective John Kelly (David Caruso), in the middle of an acrimonious marital breakup, is faced with the loss of his partner, Andy Sipowicz (Dennis Franz). Kelly's wife, Laura (Sherry Stringfield), is working on her divorce papers with her neighbor Josh "4B" Goldstein (David Schwimmer), who is subsequently the victim of a mugging. Meanwhile, the burned-out Sipowicz gets in dutch with the IAB for putting too much heat on mob boss Giardella (Robert Costanzo), whose partner, Marino (Joe Santos), wants Kelly dead. As the episode draws to a close, Kelly has launched a romance with the woman who may turn out to be his assassin -- and Sipowicz pays a terrible price for his ruthless treatment of Giardella. ~ Hal Erickson, All Movie Guide

Martha Coolidge directed this comedy taking place at fictional Pacific Tech, concerning incoming freshman Mitch (Gabe Jarret), a high school student whose Science Fair project made important inroads into laser beam technology. Mitch has been recruited by famed physics professor Hathaway (William Atherton), who asks Mitch to work in his laboratory. On campus, Mitch becomes roommates with the brilliant Chris Knight (Val Kilmer), legendary as the smartest freshman in the history of the college; but now, as a senior, he is less interested in his studies and more interested in having fun. It turns out that Hathaway is enlisting his students, unbeknownst to them, as a slave labor force to do research in developing a state-of-the-art laser device for the Defense Department (he uses his government grant funds to build a house). But Chris and Mitch begin to suspect that something is amiss with Hathaway's project. ~ Paul Brenner, All Movie Guide

This standard, tongue-in-cheek, gangsters and good guys saga is carried on the star power and screen presence of Clint Eastwood as Lt. Speer, a taciturn, tough, play-it-by-the-book cop, and on Burt Reynolds as Mike Murphy, Speer's old friend in the force, now turned private eye but still a captivating rogue at heart. With a sub-text of playing their well-known screen personas off each other, Eastwood and Reynolds provide more than a surface interpretation of the characters that made them famous. After Murphy's partner is murdered, he focuses on pitting one mob boss against another in an attempt to have both mobsters kill each other. In the meantime, Lt. Speer -- who has never approved of Murphy's private detective business -- does not really know if Murphy is for or against the two top gangsters. Set in the era of speakeasies and Prohibition, an added layer of "film noir" can be discerned under the complex plot, verbal repartée, and episodes of toned-down violence (a kind of parody in themselves). Although this may not be the best film either star has made, it is still interesting to see them together on screen. ~ Eleanor Mannikka, All Movie Guide

Neil Simon based his screenplay for I Ought to Be in Pictures on one of his more serious theatrical pieces. Walter Matthau is top-billed as Herbert Tucker, a struggling screenwriter who suddenly finds his 19-year-old daughter, Libby(Dinah Manoff), on his Hollywood doorstep. Having deserted his family years earlier, Herbert isn't keen on having his daughter around to cramp his lifestyle, which at this point consists of drinking his meals and telling lies to his faithful girlfriend, Stephanie (Ann-Margret). Libby takes it upon herself to put Herbert's life in order. There are plenty of angry outbursts and recriminations between father and daughter before the tearful, upbeat conclusion. Incidentally, Dinah Manoff is the daughter of actress Lee Grant, who'd previously co-starred with Walter Matthau in Neil Simon's Plaza Suite -- which, like I Ought to be in Pictures, was directed by Herbert Ross. ~ Hal Erickson, All Movie Guide

Loni Anderson plays the 1950s sexpot Jayne Mansfield, who starred in films like The Girl Can't Help It and who married bodybuilder Mickey Hargitay (Arnold Schwarzenegger) before a car accident ended her life. A.K.A. Jayne Mansfield: A Symbol of the '50s. ~ Jason Ankeny, All Movie Guide

In the conclusion of a two-part story, Jim (James Garner) tries to protect Patsy Fossler (Leslie Charleson) from her mob-connected boyfriend Michael Kelly (Jon Cypher) by stashing the girl with his friend Wes (Lou Frizzell). Unfortunately, Patsy's hiding place is revealed by Lianne Sweeney (Joyce Van Patten), a "cop groupie" who has been pestering both Jim and his police-detective friend Dennis Becker (Joe Santos) throughout the story. Now Jim must somehow rescue Patsy and thwart both Kelly and the mobsters without tipping off the loose-tongued Lianne. Despite all indications to the contrary at the end of this episode, we haven't seen the last of the episode's primary villains Anthony Boy (George Loros) and Syl (Luke Andreas). ~ Hal Erickson, All Movie Guide

Previous film versions of Moby Dick insisted upon including such imbecilities as romantic subplots and happy endings. John Huston's 1956 Moby Dick remains admirably faithful to its source. "Call me Ishmael" declares itinerant whaler Richard Basehart as the opening credits fade. Though slightly intimidated by the sermon delivered by Father Mapple (Orson Welles in a brilliant one-take cameo), who warns that those who challenge the sea are in danger of losing their souls, Ishmael nonetheless signs on to the Pequod, a whaling ship captained by the brooding, one-legged Ahab (Gregory Peck). For lo these many years, Ahab has been engaged in an obsessive pursuit of Moby Dick, the great white whale to whom he lost his leg. Ahab's dementia spreads throughout the crew members, who maniacally join their captain in his final, fatal attack upon the elusive, enigmatic Moby Dick. Screenwriter Ray Bradbury masterfully captures the allegorical elements in the Herman Melville original without sacrificing any of the film's entertainment value (Bradbury suffered his own "great white whale" in the form of director Huston, who sadistically ran roughshod over the sensitive author throughout the film).Cinematographer Oswald Morris' washed-out color scheme brilliantly underlines the foredoomed bleakness of the story. Moby Dick's one major shortcoming is its obviously artificial whale-but try telling a real whale to stay within camera range and hit its marks. ~ Hal Erickson, All Movie Guide