David Proval Movies

UHF is the film debut of comedy-rock satirist Weird Al Yankovic, who also co-wrote the screenplay. George Newman (Yankovic) and his friend, Bob (David Bowe from The Cable Guy), are fired from their jobs at Burger World. So George decides to take over channel 62, a failing local TV station that his Uncle Harvey (Stanley Brock) won in a poker game. George turns it around into an overnight success after letting the janitor, Stanley Spadowski (Michael Richards from Seinfeld), host a kid's show. George then fills the broadcast day with bizarre programming, bringing the ratings up and saving the station. Soon, rival station CEO R.J. Fletcher (Kevin McCarthy) of channel 8 threatens to sabotage the successful station and George must come up with a way to save it. Only loosely constructed around this story line, UHF is mostly a series of TV, movie, and music parodies strung together and played for cheap laughs. UHF also stars Victoria Jackson, Emo Philips, and Fran Drescher. ~ Andrea LeVasseur, All Movie Guide

In this complicated crime drama, Roland Dalton (Peter Weller) is an attorney who must defend a drug dealer who claims he killed in self defense. His worthy opponent is his former flame Susan Cantrell (Patricia Charbonneau), now an effective career-minded prosecuting attorney. Richie Marks (Sam Elliott) is the detective who anticipates that legal prosecution will finally close the book on this case. ~ Dan Pavlides, All Movie Guide

A group of adolescent monster movie enthusiasts form a club that meets in a treehouse in this pre-teen horror feature. When Dracula, The Mummy, Frankenstein, and The Wolfman are joined by Gill-Man in the search for a magic amulet, the boys form the Monster Squad to battle the forces of evil. The boys get unexpected help from Frankenstein when the monster grows tired of being continually bossed around by Dracula. ~ Dan Pavlides, All Movie Guide

Fed up with watching vicious criminals walk on technicalities and loopholes, judge Michael Douglas accepts his older colleague Hal Holbrook's invitation to join "The Star Chamber." This sub-rosa organization consists of nine like-minded judges who endeavor to take the law into their own hands. Essentially, these are robed vigilantes, but Douglas joins them, determining that the end justifies the means. Before long, however, Douglas finds himself balking at sanctioning the murder of freed criminals -- and as a result becomes the target of the Star Chamber himself. Worth noting in the supporting cast of The Star Chamber are Diana Douglas, Michael Douglas' real-life mother, and Frances Bergen, widow of Edgar Bergen and mother of Candice Bergen. ~ Hal Erickson, All Movie Guide

In this touching tale, an amiable retarded delivery boy from Brooklyn works to help support his mother. Meanwhile his older brother keeps him safe from local punks; this sometimes creates turmoil for him as he must maintain a strong exterior to mask his love. While delivering his groceries, the young man often fantasizes about being Superman and marrying the young woman who works in a neighboring bakery. When he saves a child from a burning building, his fantasy becomes reality. ~ Sandra Brennan, All Movie Guide

Harry and Walter Go to New York was born of the theory that, the more stars and money that you throw into a film, the better the film will be. The theory has seldom been proven true, and it certainly wasn't in this case. Harry (James Caan) and Walter (Elliot Gould) are a third-rate vaudeville team, playing tank towns in turn-of-the-century USA. Thrown into the hoosegow on a petty-theft charge, our heroes make the acquaintance of big-time crook Adam Worth (Michael Caine). Once they're sprung, Harry and Walter follow Worth to New York, with the intention of pulling off a huge bank robbery. Lissa Chestnut (Diane Keaton), a bird-brained suffragette, is also mixed up in the proceedings though she never seems certain of who or what her character is from one scene to the next. The film's one tangible asset is its meticulous re-creation of 1890s New York, courtesy of art director Harry Horner. ~ Hal Erickson, All Movie Guide

"You don't make up for your sins in church; you do it in the streets; you do it at home. The rest is bulls--t, and you know it." Returning to the autobiographical milieu of his 1968 debut Who's That Knocking at My Door? for his third feature, Martin Scorsese examined the daily struggles of a wannabe hood to keep his morals straight on the streets of Little Italy. Driven equally by his wish to become a respectable gangster like his uncle (Cesare Danova) and his desire to live his life like St. Francis, Charlie (Harvey Keitel) takes on his energetically unhinged friend Johnny Boy (Robert De Niro) as his own personal penance, intervening to get Johnny Boy to pay off a debt to the local loan shark Michael (Richard Romanus). Despite his promises to his epileptic girlfriend Teresa (Amy Robinson) that they will move out of Little Italy once he strengthens his position in his uncle's world, Charlie's involvement with Johnny Boy further ensnares him in the neighborhood. When Johnny Boy decides to mouth off to Michael rather than pay him, Charlie, Johnny Boy, and Teresa try to flee Michael's murderous anger (and an assassin played by Scorsese), forcing Charlie to realize that the rules of the streets do not mesh with absolution. Whereas fellow "film school generation" director Francis Ford Coppola transformed the Hollywood gangster movie into metaphorical epics about the Mafia and capitalism in The Godfather (1972) and The Godfather Part II (1974), Scorsese revised the genre in the opposite direction, focusing on the gritty minutiae of daily life and drawing from personal memory. Combining documentary-style realism (even though most of the film was shot in L.A.); kinetic editing and camera movement; and expressionistic lighting, angles, and film speed, Scorsese presents an intimate picture of the trivial incidents and latent violence of Charlie's and Johnny Boy's world, naturalistically unfolding their experiences rather than simply explaining what motivates them. They lead a claustrophobic, petty existence that Scorsese and screenwriter Mardik Martin witnessed growing up in Little Italy, complete with a soundtrack of hit songs like "Be My Baby" and "Jumping Jack Flash" that had poured out of neighborhood radios. Mean Streets opened at the New York Film Festival to excellent notices and played strongly in New York but failed to duplicate that level of business elsewhere. Even so, Mean Streets established Scorsese and De Niro as formidable young talents and marked the beginning of a long-running and fertile collaboration that continued in such films as Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1983), and Goodfellas (1990). Scorsese's exceptional grasp of the texture of day-to-day life, the rhythm and cadences of street talk, and cinema's visual and aural possibilities makes Mean Streets one of the pivotal films of the 1970s, as well as of Scorsese's career, and an influence on such future filmmakers as Spike Lee and Quentin Tarantino, among many others. ~ Lucia Bozzola, All Movie Guide