Edward Bell Movies

A narcissistic psychopath and neglectful single mother concocts a deadly scheme to sell the family house, and the only thing standing in the way is her still-breathing father in a cynical and serious-minded suburban soap-opera from director Paul Goldman and first-time screenwriter Alice Bell. Kat (Emily Barclay) is a nineteen-year-old single mother whose life revolves around manicures, cell phone conversations, petty crime, and cheap sex. She lives in a typical suburban home in a typical small town, and she has long since grown bored with her vanilla-flavored surroundings. Kat's brother Danny (Laurence Breuls) is currently serving a life sentence for murder, and the dangerously unpredictable hellion is now forced to move in with her father John (Robert Morgan) or face a life of destitution. Despite the fact that she is utterly dependent on her dad, her hatred for him reaches a breaking point when he informs her that he will sever her financial support and turn her child over to social services unless she finds a job. Subsequently unloading her toddler on her latest boyfriend Rusty (Michael Dorman) before embarking on a sex-fueled bender with Danny's decidedly slow-witted friend Kenny (Anthony Hayes), the enraged Kat soon cooks up a scheme to manipulate one of the men in her life to murder her father so she can sell his home, collect the cash, and carry on in her wild ways. ~ Jason Buchanan, All Movie Guide

The A-Team brings its five-season run to a rousing conclusion as Face (Dirk Benedict) and Frank (Eddie Velez) pay a visit to a surprisingly "sane" Murdock (Dwight Schultz), now working as a waiter in an Italian restaurant. Unfortunately, the three A-Teamers are held hostage, along with the restaurant's owner and his daughter, by mobsters who intend to murder Attorney General Liebster (Chuck Walling). Sneaking out a message written in anchovies on a pizza delivery, Murdock manages to alert Hannibal (George Peppard) and B.A. (Mr. T) to his plight. The climax is a riotous free-for-all, with guns blazing and fists flying--resulting in a near-fatality for one of the Team members! (If the opening of this episode looks familiar, that's because it was lifted virtually in toto from the first-season A-Team entry "Holiday in the Hills".) ~ Hal Erickson, All Movie Guide

A male stripper and an upscale executive begin an affair. ~ Jason Ankeny, All Movie Guide

This true-life TV movie stars Glenda Jackson as Oscar-winning actress Patricia Neal and Anthony Page as her author husband Roald Dahl. In 1964, Neal is felled by a stroke, which endangers not only her life but the life of her unborn child. Both survive, but it looks as though Neal will never be able to speak coherently again. Dahl bullies, cajoles and caresses his wife into recovery; she rallies under this treatment and is finally able to resume her career and lead a normal life. The film does not touch upon the serious domestic problems which would lead to Neal and Dahl's later divorce, nor does it dwell on the "dark side" of the notoriously mercurial Mr. Dahl. Nonetheless, both Neal and Dahl felt that the book upon which Patricia Neal Story was based, (Barry Farrell's Pat and Ronald) was far too revelatory for their tastes. They severed their longtime friendship with author Farrell and never spoke to him again; nor did they have anything to say publicly about The Patricia Neal Story. ~ Hal Erickson, All Movie Guide

According to the NBC publicity packet, the made-for-TV Revenge of the Stepford Wives was "based on characters created by Ira Levin" -- specifically, those characters created by Levin for his fantasy-suspense novel The Stepford Wives, which was transformed into a theatrical film in 1975. On this occasion, plucky TV journalist Kay Foster (Sharon Gless) is stranded in the "idyllic" New England community of Stepford, populated exclusively by chauvinistic males and their eerily submissive and subservient wives. With the help of Megan Brady (Julie Kavner), a new arrival to the community who hasn't yet been "conditioned," Kay tries to learn the terrible secret behind the robotic Stepford wives -- and to foment a rebellion against the wicked menfolk. Revenge of the Stepford Wives first aired on October 12, 1980. ~ Hal Erickson, All Movie Guide

This provocative, highly atmospheric horror movie tells the tale of a young girl who is terrified that her insane mother will take her away from her beloved foster mother. One day, the crazed real mother attempts to contact the girl at school, but her foster mother has a premonition and gets there in time to protect the girl. Eventually though, the real mother and her terrifying boy friend, a carnival clown, succeed and whisk her away, leaving the bereaved foster parents to enlist the assistance of a parapsychologist to help them interpret the foster mother's terrifying dreams and psychic connection to the girl and find her before it is too late. ~ Sandra Brennan, All Movie Guide

A group of new prisoners, including a political science professor, Jonathan Paige (Alan Alda), and a student, Allan Campbell (Kristoffer Tabori), arrive at a state prison, along with a new guard, Brian Courtland (Clu Gulager). Paige is a serving a year for manslaughter -- he accidentally killed a driver who had run down and injured his wife -- but his education doesn't prepare him for what he finds in prison. Nor does Courtland understand everything he sees in his new job, where he hopes to do some good. The warden (Dean Jagger) is spoken of as being on "short time," as though he were serving a sentence; the guard captain, Pagonis (G. Wood), is totally cynical about his work and his job; and one veteran guard, Brown (Roy Jenson), seems to be serving some of the prisoners -- and that small group of inmates have more to do with the running of the prison than does the administration. First among them is Hugo Slocum (Vic Morrow), a lifer who controls the flow of drugs and other contraband to the cons, wielding money and power without challenge until Paige gets assigned by the warden to the prison pharmacy, and -- thanks to his own sense of righteousness -- blocks Slocum's pipeline, a move that could get the professor killed. Meanwhile, Paige is trying to understand Lennox (Billy Dee Williams), the lifer he works with in the pharmacy, and discovers in him a true political visionary and leader, who lives the stuff that Paige has only ever lectured about. Lennox is black and proud, and a killer, and also (incidentally) smarter than Paige; he is also respected as a leader by the other blacks in the prison and feared just enough by the whites, including Slocum, to stay alive. Paige should only learn from him, but the professor is too set in his ways and too arrogant in his assumptions to do that. Complicating things further, Slocum has taken a decidedly physical liking to Paige's cellmate, Allan, a college student who is in on a marijuana charge and too naïve to recognize why the tough con is being so good to him until he rejects Slocum's advances. In retaliation, Allan is gang-raped on Slocum's orders, and later kills himself. Nor has Slocum forgotten about Paige or the pharmacy -- when Paige tries to reach out to another inmate, Sinclair (Edward Bell), who shows promise as a writer, Slocum destroys Sinclair's work and targets him, as well. Before he's killed, however, Sinclair reveals to Paige that, as Slocum's sometime bagman and former bookkeeper, he's recorded every transaction for the past eight years -- including every hit ordered by Slocum and how it was paid off, including the bribes to guards to look the other way -- and he passes the book with that record to the professor. It comes down to a do or die situation for Paige and Slocum, as each now has the power and the need to destroy the other to stay alive; the only question is whether Paige will figure out in time that he may have to back up his good intentions with lethal force. ~ Bruce Eder, All Movie Guide

Yuppie-type Michael Berger (Edward Bell) and his bitter wife Lee (Linda Marsh) can barely stand each other as it is. Things don't get much better when they move to Puerto Rico to a house he just inherited from his brother, and the circumstances aren't all that auspicious. It seems his brother murdered his wife before committing suicide. Since they don't see much future in their marriage anyway, they agree to try the then-popular sport of wife-swapping. In this movie, however, more than just wives are swapped, as explicit sexual references and lesbian encounters also take place. Michael goes ballistic from time to time, and his wife is a real queen of sarcasm. Their dislike of each other grows throughout the film, but the bonds which hold them together have never seemed more unbreakable. This movie was produced in 1970 and went commercially unreleased for almost 20 years. ~ Clarke Fountain, All Movie Guide