Tony Roberts Movies

This hysterically awful rubber-suit monster romp stars Jon Hall (who also directed) as an embittered marine researcher who is so incredibly annoyed by the rock and roll antics of the fun-loving teens who hang out near his Waikiki beach house that he decides to create a slimy fish-monster to silence them once and for all. The beast manages to wipe out a fair portion of beach bums and bummettes, but somehow the pesky kids just keep multiplying and coming back more annoying than before -- surfing, gyrating (to tunes by Frank Sinatra, Jr.) and throwing the odd clambake. Not a very distinguished comeback for former Ramar of the Jungle Hall, this nevertheless has a certain ugly charm, according it "so-bad-it's-good" status. Released to television as Monster from the Surf. ~ Cavett Binion, All Movie Guide

Jerry Paris's Star Spangled Girl (1971), based on Neil Simon's play (a notorious Broadway flop), never made much of an impression in theaters, which is understandable with a cheap, overlit television look to most of it and Davy Jones singing the song "Girl" over the main titles (which got a lot more visibility from its use in the Brady Bunch episode in which Marsha has to get the singer to appear at her school), it looked too much like a small-screen production blown up; it was dated from the first frame of its opening credits. Tony Roberts and Todd Susman play Andy Hobart and Norman Cornell, a pair of self-styled political radicals living in California, beating the system by stealing as much as they can from neighborhood shops and conning the rest out of anyone around, all for the greater goal of keeping their underground newspaper alive and kicking. Their lifestyle is a cross between the ideas in Abbie Hoffman's Steal This Book and Max Bialystock's dalliances in The Producers. Into their midst moves a transplant from rural Florida, Amy Cooper (Sandy Duncan) (who was called Sophie Rauschmeyer in the play), a perky aspiring Olympic swimmer and old-fashioned, patriotic Southern girl, and as corn-fed a hick as you found in movies in 1971 without a cynical bone in her body. Norman, a hopelessly neurotic and sexually dysfunctional writer, falls in love with her almost instantly upon encountering her; not, mind you, based on her personality or even her looks, but her smell. Andy is, at first, oblivious to her charms and content to maintain his relationship with their libidinous landlady (Elizabeth Allen, totally wasted here), paying their rent with all-night barhopping and trysts involving skydiving. At some point, however, Amy decides she has to have Andy (based on his smell...), and he feels the same way. Andy and Norman end up -- Odd Couple-style -- in conflict over their differing approaches to life; the Odd Couple allusions are further amplified by Roberts' remarkable resemblance to Walter Matthau in his manner and delivery of dialogue. The story is resolved as unconvincingly as it's played. It's also a sign of just how unfunny the play was in that the funniest moment in the movie is new to the screenplay and comes just a minute after the opening credits with a gag referring to a certain John Schlesinger movie from 1969. It's not much of a gag, but it's funnier than anything in the main body of the movie, which otherwise plays like a terminally extended version of a Love American Style episode. The original Broadway production, incidentally, starred Richard Benjamin, Anthony Perkins, and Connie Stevens. ~ Bruce Eder, All Movie Guide

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon. ~ Lucia Bozzola, All Movie Guide

In this romantic adventure comedy from French writer/director Jean-Paul Rappeneau, Catherine Deneuve stars as Nelly, a young French bride who gets cold feet and flees the altar with her irate Italian groom Vittorio (Luigi Vannucchi in hot pursuit. While she is on the run in Venezuela, Nelly carries with her a priceless stolen painting and meets Martin (Yves Montand), a financially and personally troubled middle-aged French perfume maker who is fleeing both his marriage and his failing business. Together the unlikely pair from a bond upon finding themselves in need of each other's assistance. Also starring Tony Roberts and Bobo Lewis, La Sauvage was released in the United States under the English-translated title, The Savage. ~ Matthew Tobey, All Movie Guide

When an heiress is falsely accused of the murder of her husband, she is assisted by 2 crafty criminal lawyers. ~ All Movie Guide

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, All Movie Guide

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, All Movie Guide

The made-for-TV A Question of Honor was based on Point Blank, a novel by former cop Sonny Grosso and Philip Rosenberg. Ben Gazzara plays Joe DeFalco, a 15-year veteran of the NYPD who'd like to end his career in a blaze of glory. This leads him to act upon a tip intended for another officer, which will enable him to arrest a notorious dope dealer named Danzie (Paul Sorvino). Unbeknownst to DeFalco, Danzie is working hand-in-glove with the Feds in an effort to weed out crooked cops. Before he can absorb what's happening, DeFalco is being blackmailed to do Danzie's "dirty work." This is a tale of misguided ambition: DeFalco's lust for fame and fortune, and the Feds' overzealous desire to uncover police corruption-which, at least according to the events depicted herein, has the effect of forcing honest cops into dishonesty. Both the novel and the film were based on an actual incident, which culminated in the 1972 suicide of DeFalco's real-life counterpart. A Question of Honor debuted on April 28, 1982. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Based on a play by Kevin Wade, this comedy stars Brooke Adams as a television producer who demands commitment from her free-spirited lover (Ben Masters). ~ Jason Ankeny, All Movie Guide

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, All Movie Guide

On his 81st birthday, grandpa George Burns, bemoans the fact that he's wasted his life, and wishes he had it to do all over again. He gets his wish when he and his 18-year-old grandson Charles Schlatter are involved in an auto accident. When he awakens, Burns' personality has been transferred to Schlatter's body, and vice versa! ~ Hal Erickson, All Movie Guide

A young aspiring actress is killed by a lethal drug overdose. At first glance, it seems the girl was driven to her death by her mother, the proverbial "stage mom from hell." But as the detectives and the D.A.'s office pursue the investigation, it becomes painfully clear that both mother and daughter are inextricably linked with the sleazy producer of porno films. This episode offers an interesting change-of-pace role for frequent Woody Allen co-star Tony Roberts. ~ Hal Erickson, All Movie Guide