Randy Quaid Movies

Together with Orson Welles' Citizen Kane and John Singleton's Boyz 'n the Hood, director Peter Bogdanovich's Targets is among the most impressive first features ever made. When Bogdanovich's cinematic mentor Roger Corman suggested that Bogdanovich might want to make his directorial debut, he offered to "donate" 20 minutes' worth of footage of the Corman-directed The Terror and the services of Boris Karloff, who owed Corman two days' worth of work (at a cost of 22,000 dollars). Karloff became so caught up in the 29-year-old Bogdanovich's enthusiasm that he agreed to work an additional two days at a bare-minimum salary.

The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.

Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, All Movie Guide

Produced by Hollywood iconoclast BBS Productions, film critic-turned-director Peter Bogdanovich's 1971 film pays homage to Hollywood's classical age as it chronicles generational rites of passage in Anarene, a fictional one-horse Texas town. In 1951, high school seniors Sonny (Timothy Bottoms) and Duane (Jeff Bridges) play football, go to the movies at the Royal Theater, hang out at the pool hall owned by local elder statesman Sam the Lion (Ben Johnson), and lust after rich tease Jacy Farrow (Cybill Shepherd in her film debut). As the year passes, Sonny learns about the pitfalls and compromises of adulthood through an affair with his coach's wife Ruth (Cloris Leachman) and a thwarted elopement with Jacy after she dumps Duane. Following two tragic deaths, and with Duane gone to Korea and Jacy packed off to college in Dallas, Sonny is left behind in Anarene, wise enough to absorb the life lessons of Sam the Lion and Jacy's mother Lois (Ellen Burstyn). He is determined to honor Sam's legacy as the town's conscience, despite a telling sign of incipient communal disintegration: the closing of the Royal Theater after a final showing of Howard Hawks's Red River. Paying tribute to classical Hollywood directors like Hawks and John Ford, Bogdanovich used old-time cinematographer Robert Surtees and shot The Last Picture Show in crisp black-and-white, with a restrained style devoid of the kind of "new wave" techniques (jump cuts, zooms, and jittery hand-held camerawork) used by such contemporaries as Arthur Penn, Robert Altman, Mike Nichols, and Martin Scorsese. As in such Ford films as The Grapes of Wrath (1940), Bogdanovich relies on careful visual composition in deep focus to help communicate the regret over the passing of an era. Hailed as one of the best films by a young director since Citizen Kane (1941), The Last Picture Show premiered at the New York Film Festival and went on to become a hit. It was also nominated for eight Oscars, including Best Picture, Best Director and Best Screenplay for Larry McMurtry's and Bogdanovich's adaptation of McMurtry's novel. John Ford stalwart Johnson won Supporting Actor and Leachman won Supporting Actress, beating out their cohorts Bridges and Burstyn. For an audience steeped in movie history and caught up in the chaotic 1971 present, The Last Picture Show presented a nostalgic look backward that was not so much an escape from the present as a coming to terms with what the present had lost. Its 1990 sequel Texasville, in which Bridges and Shepherd played later incarnations of their original characters, was not as successful. ~ Lucia Bozzola, All Movie Guide

The year is 1936. Orphaned Addie Loggins (Tatum O'Neal, in her film debut) is left in the care of unethical travelling Bible salesman Moses Pray (Ryan O'Neal, Tatum's dad), who may or may not be her father. En route to Addie's relatives, Moses learns that the 9-year-old is quite a handful: she smokes, cusses, and is almost as devious and manipulative as he is. They join forces as swindlers, working together so well that Addie is averse to breaking up the team -- which is one reason that she sabotages the romance between Moses and good-time gal Trixie Delight (Madeline Kahn). Later, while attempting to square a $200 debt that Addie claims he owes her, Moses runs afoul of of a bootlegger (John Hillerman) and is nearly beaten to death by the criminal's twin-brother sheriff. Painfully pulling himself together, Moses gets Addie to her relatives, whereupon she adamantly refuses to leave his side. Photographed in black-and-white by Laszlo Kovacs, the film was made largely on location in Kansas and Missouri (an experience colorfully recalled by director Peter Bogdanovich in his 1972 book of essays Pieces of Time). 9-year-old Tatum O'Neal won a Best Supporting Actress Oscar, beating out costar Kahn. Paper Moon later became a short-lived TV series, starring Ryan O'Neal lookalike Christopher Connelly and future Oscar winner Jodie Foster. ~ Hal Erickson, All Movie Guide

Petty jealousies and misunderstandings between two rival families escalate into a tragic outburst of violence in this drama. Laban Feather (Rod Steiger) is the patriarch of a family of Tennessee moonshiners, brewing corn liquor with the help of his sons: Thrush (Scott Wilson), Zack (Jeff Bridges), Hawk (Ed Lauter), and Finch (Randy Quaid). The chief rivals of the Feather Family have long been the Gutshalls, another Tennessee clan who sell illegal alcohol; the Gutshalls are led by father Pap (Robert Ryan), with the help of his boys Ludie (Kiel Martin), Seb (Gary Busey), and Villum (Paul Koslo). While fighting for their share of the market in white lightning, the Feathers and the Gutshalls have also feuded over a piece of land that each side believes is rightfully theirs. Hoping to create internal friction amongst the Feather siblings, Ludie Gutshall mails a postcard from the non-existent "Lolly-Madonna" to the Feather home and allows the brothers to puzzle over who has attracted her attentions. The prank begins to turn ugly when Thrush and Hawk kidnap Roonie Gill (Season Hubley), a woman passing through town en route to meet her fiancée, believing that she's the "Lolly Madonna" they've heard about. Lolly-Madonna XXX was based on a novel by Sue Grafton entitled The Lolly-Madonna War, and was also released under that title. ~ Mark Deming, All Movie Guide

Richard Dreyfuss put himself on the map with his performance in this movie about how ambition and greed can drive someone at the expense of his own happiness. Duddy Kravitz (Dreyfuss) is an 18-year-old Jewish kid from Montreal whose mother is dead, and whose father drives a cab and does a little pimping on the side to pay the bills and send Duddy's older brother to medical school. Duddy has bigger dreams, and he does everything from producing films of bar mitzvahs to attempting to buy real estate to (unknowingly) smuggling heroin in order to strike it rich. Along the way, however, he alienates his girlfriend, drives his grandfather to despair, loses all his friends, and even paralyzes his best employee, while making himself more and more miserable. Duddy's desire to be a success is easy to understand, which makes this potentially unlikable character forgivable, and the film's gallery of details and characters adds realism and energy to the story. ~ Don Kaye, All Movie Guide

Adapted by Robert Getchell from Woody Guthrie's autobiography, Hal Ashby's biopic portrays a few pivotal years in the life of the celebrated folk singer and social activist. In the Depression 1930s, Midwesterner Guthrie (David Carradine) plays music locally but cannot make enough as a sign painter to support his wife (Melinda Dillon) and children. With only his paintbrushes, Woody joins the migration westward from the Dust Bowl to supposedly greener California pastures via boxcar and hitchhiking. When penniless Woody is turned back from the California border, he sneaks into the state alone and meets Luther (Randy Quaid), who takes Woody to a farm where hundreds of workers scrounge for a few ill-paid harvesting jobs. When singer Ozark Bole (Ronny Cox) arrives both to entertain and to urge the workers to unionize, Woody joins Ozark in song, fleeing with him after thugs break up the assembly. He lands a job singing with Ozark on the radio, and the two become partners in union agitation. Unable to commit in his personal life as he finds his political voice, Woody brings his family west, but his wife can't tolerate Woody's wandering ways. Reluctant to sell out his ideals for a lucrative career, Woody hits the road again, bringing his songs of freedom and protest to a nationwide audience on his own terms. Opting for atmospheric story-telling over strident polemic, the filmmakers present Guthrie as a complex individual with contradictory virtues and faults. Despite critical praise and nominations for several Oscars, including Best Picture, Bound for Glory proved less than glorious at the box office. ~ Lucia Bozzola, All Movie Guide

Loosely based on former policeman Joseph Wambaugh's humorous novel, The Choirboys determinedly explores the stunted interior lives of a large crew of callous, bigoted L.A. policemen. These men get together to lend one another emotional support. However, the means they choose for this do not enhance their sensitivity or their judgement. When one of them has a really bad day, he asks his buddies to come to "choir practice," and they get together for alcoholic benders of fairly epic proportions. When one of them accidentally shoots a homosexual teen cruising a city park, everyone (including higher-ups) gets called on to help with the cover-up. The Choirboys, which was a critical and box-office failure, had an impressive cast list, including such well-known performers as Blair Brown, James Woods, Randy Quaid, Lou Gossett Jr., Perry King and Charles Durning. ~ Clarke Fountain, All Movie Guide

Midnight Express is a harrowing tale of a naïve American caught in a nightmare of his own making thousands of miles from his home. Billy Hayes (Brad Davis) is an American tourist visiting Turkey with his girlfriend Susan (Irene Miracle) when he's caught by customs officials trying to smuggle a large amount of hashish out of the country. The crime would normally carry a sentence of four years, but officials decide to make an example of Billy, and he draws a 30-year sentence despite the promises of his Turkish legal counsel. While Susan and Billy's father (Mike Kellin) pledge to do everything they can to speed Billy's release, in fact there's little than can be done. Billy quickly finds himself in a hellish prison that's a nightmare of filth, violence, rape, inedible food, and unspeakable health conditions. However, Billy gains a few confidantes behind bars: Jimmy (Randy Quaid), an American in a constant state of emotional overdrive; Max (John Hurt), an intelligent, drug-addicted Englishman; and Erich (Norbert Weisser), a gay Scandinavian who is attracted to Billy but accepts his gentle refusals of sex. Before long, Billy is convinced that he can take no more, and he makes plans to take the "midnight express" -- jailhouse slang for escape. While his friends are willing to help, they also make clear that almost no one who has tried to escape has lived to tell the tale. Based on a true story, Midnight Express was a box-office hit which won wide acclaim for the performances of Brad Davis and John Hurt; and the screenplay, by Oliver Stone, won an Academy Award. ~ Mark Deming, All Movie Guide

The hook in Walter Hill's mythic retelling of the James-Younger outlaw legend is in the casting; the James, Younger, Miller, and Ford Brothers are played by a string of acting brothers, the Keachs, the Carradines, the Quaids and the Guests. The film begins as outlaws are robbing a bank. After the robbery, Ed Miller (Dennis Quaid) finds himself kicked out of the gang for needlessly killing a man during the robbery. Jesse James (James Keach) hands over Ed's share of the money and tells him to leave, a feeling held mutually by Ed's brother Clell (Randy Quaid). After the killing the gang decides to split up for awhile. The James boys return to their wives and farms, while Cole Younger (David Carradine) travels to Texas with his prostitute girlfriend Belle Starr (Pamela Reed). After the brief respite, the gang reunites to rob a well-stocked bank in Northfield, Minnesota. The robbery turns out disastrously, with most of the gang either wounded or dying. The James boys are the only ones not seriously hurt, and they leave the rest of the gang behind, escaping while they can. After the James boys leave, the remnants of the gang are captured. But trailing the Jameses is a relentless posse. Frank and Jesse manage to keep one step ahead until the Ford brothers (Christopher Guest and Nicholas Guest) make a deal with the Pinkerton detectives trailing the outlaws. ~ Paul Brenner, All Movie Guide

This two-part TV movie was, of course, sparked by the November 1978 mass suicide of 913 people at the South American religious "colony" of Jonestown. The catalyst for this tragedy was cult-leader Reverend Jim Jones (played by Powers Boothe, who won an Emmy for his performance), head of the so-called People's Temple. The film traces the life of Jones from his days as an idealistic 1960s activist. He drifts into penny-ante confidence scams and bed-hops from woman to woman, before electing to pass himself off as a modern messiah--eventually believing his own feverish sermons. The climactic scenes are chillingly staged in a near-documentary fashion, with Puerto Rico and Georgia substituting for Guyana. Ned Beatty plays the ill-fated Representative Leo Ryan, while James Earl Jones has a cameo as 1930s religious-leader Father Divine; most of the other main characters are composites of real people. Originally broadcast April 15 and 16, 1980, The Guyana Tragedy was adapted by Ernest Tidyman from the Washington Post and Charles A. Krause's Guyana Massacre: An Eyewitness Account. ~ Hal Erickson, All Movie Guide

Heartbeeps stars Andy Kaufman and Bernadette Peters as domestic robots who fall in love and run off together. ~ Jason Ankeny, All Movie Guide

The two-part TV movie Inside the Third Reich was based on the extraordinary revelatory (if self-serving) autobiographical book by Albert Speer. Played herein by Rutger Hauer, Speer is a young man of privilege in pre-Hitler Germany who happens to be a brilliant architect. Becoming a member of Hitler's inner circle, Speer is appointed the Nazi regime's master builder. According to this film, Speer is egomaniacal and ambitious, but somewhat blinded to the inherent evils of Nazism. Though he'd later claim to be ignorant of Hitler's horrific policies aimed at the Jews, he was certainly aware of the use of Jewish prisoners as slave labor: as Germany's armaments minister during World War II, Speer exploited these enslaved unfortunates as much as anyone, if not more so. The cast includes Derek Jacobi as Hitler, Blythe Danner as Speer's wife Margarethe, John Gielgud as Speer's father, Ian Holm as Goebbels, Maurice Roeves as Hess, and George Murcell as Goering. Originally running 5 hours, Inside the Third Reich was filmed in Munich; it was first telecast on May 9 and 10, 1982. ~ Hal Erickson, All Movie Guide

In this drama, a city-slicker teacher tries to fix-up a run-down cattle ranch. The ranch was his childhood home. As he works, he finds his progress delayed by as series of strange and upsetting events. ~ Sandra Brennan, All Movie Guide