Tony Roberts Movies

A trio of troubled suburbanites attempts to come to grips with the personal issues that surface following the tragic death of one of their own in this introspective adolescent drama from L.I.E. screenwriter/director (Michael Cuesta). In the months following the death of Jacob's (Conor Donovan) likeable, athletic twin brother, Rudy (also Donovan), Jacob and friends Malee (Zoe Weizenbaum) and Leonard (Jesse Camacho) struggle to make sense of the unfortunate youth's fiery demise at the hands of local bullies. As Jacob quickly loses himself to revenge fantasies and sets into motion a series of destructive plans designed to destroy the kids responsible for his brother's death, Malee focuses her attention on a dejected patient of her psychotherapist mother, and obese Leonard struggles about weight and health issues with his equally obese mother. ~ Jason Buchanan, Rovi

Richard Rodgers was one of the finest and most influential composers the American musical theater ever produced; with such distinguished collaborators as Lorenz Hart and Oscar Hammerstein II, Rodgers crafted such classics as Oklahoma, The Sound of Music, Pal Joey, Carousel, South Pacific, Babes in Arms, The Boys From Syracuse, and Cinderella. Richard Rogers: Sweetest Sounds is a documentary produced for the PBS series American Masters which examines Rodgers' remarkable career, which spanned six decades, as well as his often troubled personal life, which was clouded by spells of alcoholism and depression. Richard Rogers: Sweetest Sounds includes interviews with composers Andrew Lloyd Webber and Richard Rodney Bennett, vocalists Julie Andrews and Maureen McGovern, jazz artist Billy Taylor, actress Celeste Holm, and critic John Lahr. ~ Mark Deming, Rovi

The potential witnesses to a mysterious murder all become suspects when a determined detective fails to crack the case in a hard-boiled mystery directed by Edward Vilga and starring Jill Hennessy, Paul Sorvino, and John Glover. When gunshots pierce the black stillness of the night and a body plunges into the icy depths of a deserted pier, an unidentified call to 911 sets into motion a curious series of chilling events. Though a subsequent murder outside of the Polite Persistence debt collection agency adjacent to the pier leads detective Sam (John Glover) to sense a connection between the two crimes, the tight-lipped employees of the agency seem to be taking extra caution to hide something big. Someone has to hold the key to this mystery, and whether it's the mob-connected Harvey (Sorvino), agency black sheep James (Justin Theroux), short-fused Frankie (Patricia Scanlon), anal-retentive Walter (Tony Roberts) or once-shady single mom Kate (Hennessy), Sam vows to crack the tough case even if it costs him his life. ~ Jason Buchanan, Rovi

Sam Waterston joins the cast as Executive Assistant D.A. Jack McCoy in Law & Order's fifth-season opener. The case at hand is a "revolutionary" breast-cancer treatment that may have caused a woman's death. The D.A.'s office pursues the woman doctor who developed the treatment -- and who may very well be the "quack" that her colleagues have claimed her to be. In his pursuit of the accused, Jack McCoy demonstrates early on that his zeal for justice does not always adhere to the letter of the law. ~ Hal Erickson, Rovi

The set of a popular daytime drama proves to be rife with intrigues that go far beyond the script. At the center is the show's temperamental star Joanna Rollins (a pre-Star Trek: Voyager Kate Mulgrew), whose millionaire husband turns up murdered. In her efforts to solve the case, Jessica (Angela Lansbury) receives assistance from a surprising source: Joanna's former costar and ex-lover, whom she had fired from the show. ~ Hal Erickson, Rovi

Ellen Barkin stars in this mystical comedy about a detestable male chauvinist temporarily reincarnated into the body of a woman. Steve Brooks (Perry King) foolishly accepts an invite for an evening of debauchery from three former girlfriends, and thinks he's got it made when he shows up to find them waiting for him in a hot tub. Eager to exact revenge on the scoundrel, the women proceed to drown him, and Steve is cast into a purgatory in which two unseen voices are deciding whether to send him to heaven or hell. Steve is given one chance to save himself from damnation -- if he can find a woman alive who actually liked him. To complicate his task and teach him a lesson, Steve is reincarnated as a sexy woman (Barkin), just the type who would have been the target of his cheesy advances. Sloppily adjusting to his new body, Steve (now Barkin) tells people he is the sister of the missing Steve Brooks, and begins working at his old advertising agency as a means toward completing his arduous task. As Steve's sister, he also enlists the help of his best friend, Walter (Jimmy Smits), despite the complication that Walter is noticeably attracted to the woman he has become. Steve's homophobia -- and several of his other hateful traits -- are put to the test. ~ Derek Armstrong, Rovi

In this off-beat horror outing, a band of film students decide to scare up some cash by holding a film festival celebrating horror films from the '50s. Its all great fun until they discover that the projectionist is a homicidal maniac. Gory violence ensues as audience members begin dying in horrible ways. ~ Sandra Brennan, Rovi

Woody Allen's gentle and nostalgic tribute to the glory days of radio and coming-of-age during World War II plays like Fellini's Amarcord filtered through Neil Simon. The nominal star is Seth Green as Joe, a teenage Jewish boy, growing up with a house full of relatives in Brooklyn. Allen cuts between Joe's working class neighborhood of Rockaway Beach, Queens, and the glittery and glamorous world of radio in Manhattan. ~ Paul Brenner, Rovi

The PBS series Great Performances first presented the made-for-TV feature Seize the Day. The time is the success-driven '50s; Robin Williams plays Tommy Wilhelm, a middle-ager who has just lost his salesman's job. Margaret, his wife (Katherine Borowitz), is on the verge of divorce and fully intends to take him to the cleaners whether he has an income or not. Doctor Adler (Joseph Wiseman), Tommy's judgmental father, cannot abide having a failure in the family and refuses to lend his son a single penny. In desperation, Tommy heads to New York City, where his old wheeler-dealer pal Dr. Tamkin (Jerry Stiller) has promised him a job. Even there, however, Tommy is defeated by the cold-shoulder treatment afforded him by the people whose opinions he values most. Seize the Day was adapted by Ronald Ribman from the novel by Saul Bellow. ~ Hal Erickson, Rovi

The third installment in the haunted-house saga discards any pretense of being based on actual events in order to provide the requisite cheap thrills sought by audiences during the short-lived 3-D revival of the early '80s. When a skeptical reporter (Tony Roberts) with a penchant for debunking phony psychic hoaxes moves into the Long Island house to disprove its nightmarish legend, he and his family are set upon by all manner of supernatural beasties. Many such manifestations leap wildly out at the screen to fully exploit the 3-D effect, making the cheap gags all too obvious in the "flattened" video and cable prints (often released under the title Amityville 3: The Demon). Remarkably violent for a PG-rated film (those with an intense fear of fire might want to fast-forward through Candy Clark's death scene), Amityville 3-D has a certain cheesy appeal for anyone who likes touring Halloween spook-houses. Look closely to spot a young Meg Ryan in a small doomed-teen role. This 3-D version was followed by even more sequels, including Amityville: The Evil Escapes, Amityville 1992: It's About Time, The Amityville Curse, and Amityville: A New Generation. ~ Cavett Binion, Rovi

Woody Allen brings a diverting whimsy and a hopeful innocence to this period roundelay, based upon Ingmar Bergman's Smiles of a Summer's Night and Jean Renoir's Rules of the Game. Allen plays Andrew, a Wall Street broker and eccentric inventor who is having frigidity problems with his wife Adrian (Mary Steenburgen). Adrian and Andrew are the hosts, at their summer house in the country, of a wedding party for Ariel (Mia Farrow) and Leopold (Jose Ferrer), a famed academic who is Andrew's cousin. Over the weekend, another couple converges at Andrew's summer home -- the sly, lady-killer of a doctor Maxwell (Tony Roberts) and his date, the deliciously ditzy nurse Dulcy (Julie Hagerty). Through the course of the weekend, sexual partners are exchanged and magical fairy tale moments are shared. ~ Paul Brenner, Rovi

Woody Allen's tenth film as writer/director, Stardust Memories opens with a scene reminiscent of the opening of 8 1/2 and continues to use that film for inspiration. Sandy Bates (Allen) sits in a train at a train station, the car filled with very unhappy looking people. In a train on another set of tracks, Bates sees a wonderful party going on. A beautiful woman blows him a kiss as the happy train pulls out of the station. Bates is a famous film director who has been invited to attend a festival of his work being held at the Stardust hotel. He attends the event, but is ceaselessly harassed by fans who accost him and repel him in equal measure. While consistently hearing the complaints from fans, critics, and even space aliens that his earlier comedies are superior to his dramatic work, Bates juggles a trio of women in his private life. His encounters during the course of the retrospective force Bates to take a long look at himself. Sharon Stone makes one of her first film appearances as the woman who blows Sandy a kiss. ~ Perry Seibert, Rovi

Filmed in and around Houston, Girls in the Office is an easily digested TV movie with an all-video-star cast. The office is in a large Houston department store. The girls are four in number: Susan Saint James, Barbara Eden, Penny Peyser and Robyn Douglass. The film follows the quartet as they try to balance their jobs with their love lives. Some of the ladies opt for business, others for pleasure; look at the cast and figure out who does which. The viewer's interest in Girls in the Office is entirely dependent upon how appealing one finds its stars. The film couldn't help but do well when it was first telecast in February of 1979: its competition was the McLean Stevenson sitcom Hello, Larry. ~ Hal Erickson, Rovi