Phil Rubenstein Movies

When con man Eddie Dash (Richard Pryor) is released from prison he's told to fulfill the required 100 hours of community service as the bodyguard/escort of a recently released mental patient (Gene Wilder). It's not too long before Wilder figures out a way to make a little dough at the expense of his impaired charge. Together they manage to get involved in an inheritance scam that's loaded with troubles and trials for all. It's apparent to most viewers that the Richard Pryor appearing in this film is a far cry from the actor most have seen previously; this is the first film undertaken by Pryor following a very serious illness. ~ All Movie Guide

The serialized story structure and barbed social commentary from comic book creator and co-writer Frank Miller earned critical respect in this satirical science fiction sequel directed by Irvin Kershner. Peter Weller returns as RoboCop, a futuristic cyborg fashioned from cutting-edge technology and the biological remains of slain Detroit police officer, Alex Murphy. Still patrolling the city streets, RoboCop is scheduled by his creator, Omni Consumer Products, to be replaced by a new "superior" model, RoboCop 2, that according to designer Juliette Faxx (Belinda Bauer), will contain the human remains not of a cop but a criminal. In the meantime, an instantly addictive drug called Nuke is sweeping through Detroit thanks to a kingpin named Cain (Tom Noonan). Taking Cain to task, RoboCop is captured and dismantled. When he's put back together, the cyborg is reprogrammed with a series of socially conscious commands (in a sly mocking of the then relatively new concept of "political correctness") that render him impotent as a law enforcer. Taking charge by rewiring himself with an electrical overload, RoboCop arrests Cain, who is injured in the process. Faxx secretly takes Cain's brain and inserts it into RoboCop 2, turning the robot immediately into a law-breaking murder machine and leading to a violent showdown between two generations of robotic crime-fighters. ~ Karl Williams, All Movie Guide

Sylvester Stallone tries his luck with his first cop buddy movie in Tango and Cash, directed by Andrei Konchalovsky. Stallone is Ray Tango, a Los Angeles narcotics cop who dresses in fancy suits, wears wire-rim glasses, and talks to his stockbroker more than he talks to his mother. Kurt Russell is Gabriel Cash, another Los Angeles narcotics cop who has long, disheveled blonde hair and dresses in worn-out sweatshirts. Together, Tango and Cash are the two best narcs in LA, which causes drug baron Yves Perret (Jack Palance) no end of distress. Since Yves controls a billion-dollar drug empire, Tango and Cash have to be taken out of the picture in some way. So Yves arranges for Tango and Cash to be framed for a crime. But the duo accepts a plea bargain that will give them 18 months in a minimum-security prison. Unfortunately, Yves arranges for their destination to be diverted to a maximum-security hell-hole where Yves's minions proceed to torture Tango and Cash --although they still have time to trade quips with each other. Ultimately, they escape from their torture chamber and seek out Yves and his gang. ~ Paul Brenner, All Movie Guide

Al Capone's imprisonment opened the way for mobster Frank Nitti to become the underworld king of Chicago as related in this true story. (AKA Nitti) ~ All Movie Guide

In Mannequin, a lame attempt to revive the style and panache of fantasy-tinged romantic comedies of the '30s and '40s, Andrew McCarthy stars as a department store window-dresser who discovers that one of his mannequins (Kim Cattrall) is actually a woman from ancient Egypt when she becomes animated one evening. She then inspires him to become the most expressive window-dresser the business has ever seen. Of course, there is intrigue involving a rival department store's attempt to drive the good guys out of business, and together the two store-crossed lovers must combat the forces of evil to save the day. There is no real mystery about what will happen in the course of the film; it all seems color-by-numbers. The only thing unique about Mannequin is its uniquely bad and illogical script, which has holes larger than the Grand Canyon. Mannequin was a surprise box-office hit, earning nearly 25 million dollars in just under a month of its release -- no small feat considering its miniscule budget and seeming lack of appeal to any particular demographic. It spawned an inferior sequel, Mannequin Two: On the Move, reaffirming the belief that anything is possible. In spite of being panned by critics across the board, it did manage to receive one accolade -- its theme, "Nothing's Gonna Stop Us Now," was nominated by the Academy for Best Song. ~ Jeremy Beday, All Movie Guide

This attempt at parodying a world of hookers, child pornographers, and drug cartels never quite gets off the ground. Though these topics are not inherently amusing, director Penelope Spheeris takes the plot of Hardcore as a springboard and develops a few parallel stories that are meant to be funny. Pauline Stanton (Trish Van DeVere) is desperately hoping to rescue her daughter Lori (Robin Wright) who is working for the evil Walsh (Frank Gorshin) as a call-girl. As some policemen work on trying to get the goods on Walsh and send him up for white slave trading, another policewoman is involved in trying to bring down a child pornographer in her neighborhood. Yet another cop, detective Romero (H.B. Haggerty) is after a New York mob boss. ~ Eleanor Mannikka, All Movie Guide

Star Trek IV: The Voyage Home (1986) concludes the story arc begun with Star Trek II: The Wrath of Khan (1982) and continued in Star Trek III: The Search for Spock (1984), but on a wholly new, different, and upbeat note. As the movie opens, months have elapsed since the events in Star Trek III; Admiral Kirk (William Shatner), McCoy (DeForest Kelley), Scott (James Doohan), Sulu (George Takei), Uhura (Nichelle Nichols), and Chekhov (Walter Koenig) are marooned in self-imposed exile on Vulcan, along with the resurrected and regenerated Spock (Leonard Nimoy, who also directed). While Spock tries to sort out the Vulcan and human halves of his resurrected psyche, the others prepare to return to Earth to face a brace of charges by the Klingon Empire and Star Fleet over events on Genesis. Taking off in their commandeered, jerry-rigged Klingon ship, they head to Earth, not knowing that a new crisis could destroy their home world -- a huge, immensely powerful alien probe has entered the galaxy and established a position near Earth, disabling every vehicle and installation in its path with its energy and communication output, and has ionized the entire atmosphere and started vaporizing the oceans, leaving the planet only hours to survive.

Spock determines that the probe is sending out signals to another intelligent terrestrial life form, humpbacked whales, which no longer exist. Using the gravity slingshot time-warp effect (established early in the original series) to travel back into Earth's 20th century, Kirk and company land in 1980s San Francisco to try and bring humpbacked whales to the 23rd century, to respond to the probe. Thus starts a surprisingly breezy, light-hearted, yet serious odyssey through the past (comparable to the best work of the original series), as the crew learns to deal with exact-change buses, angry drivers, punk-rock enthusiasts and other elements of '80s life, and Kirk tries to persuade a scientist (Catherine Hicks) of his good intentions for two whales in captivity. The screenplay, co-authored by Steve Meerson, Peter Krikes, Nicholas Meyer, and Harve Bennett (from a story by Nimoy and Bennett), is the cleverest and most sophisticated of all the Star Trek movie screenplays, recalling some of the elements of Meyer's earlier time-travel movie Time After Time and also anticipating the feel and tone of the series Star Trek: The Next Generation (which would be on the air not quite a year later). Nimoy's direction offers a combination of brisk pacing and a deep love of the characters and the actors, as well as a serious appreciation of the humorous aspects of the script, and Shatner gives his best performance of any of the movies. ~ Bruce Eder, All Movie Guide

Needing community-service points to qualify for the Dry Cleaner of the Year award, George (Sherman Hemsley) becomes "nest mother" for his granddaughter Jessica's Red Robin troop. In his efforts to be helpful, George teaches the girls a few rather unethical methods for selling candy door-to-door. This episode marked the final series appearance of Ebonie Smith as Jessica Jefferson. ~ Hal Erickson, All Movie Guide

Justine Bateman plays a young, blind teen who wishes to get out from under her overly-concerned family's control and finds support in a romantic relationship. Jason Bateman, oddly enough, plays her brother in this drama which was co-produced by their father, Kent Bateman. ~ Kristie Hassen, All Movie Guide

In his last acting assignment before his death, Orson Welles narrates this highly unusual episode of Moonlighting. While gathering evidence for their latest case, David (Bruce Willis) and Maddie (Cybill learn of the famous Flamingo Cove Murder, a 1946 case that has never been solved. It doesn't take long for the two detectives to dream up their own separate solutions to the murder--dreams filmed in glorious black and white in the manner of a classic film noir (David's scenario looks like something out of the Rita Hayworth flick Gilda, while Maddie's resembles a Tennessee Williams-style romantic melodrama!) Cybill Shepherd sings "Blue Moon" and "I Told Ya I Love Ya, Now Get Out!" ~ Hal Erickson, All Movie Guide

After being mugged by two men, aspiring actress Kendall Gibley (Alexandra Paul) vows that she'll be ready for any future attacks. Kendall decides to "beef up" by undergoing a body-building regimen that would kill a lesser woman. Her devotion to physical culture sorely threatens her personal relationships with her friends, family and boyfriend, Mickey Ritter (David Naughton). Star Alexandra Paul's impressive physique is lovingly photographed by Howard R. Schwartz, as disco music pulsates on the soundtrack. A number of real-life bodybuilders of both sexes appear in supporting and bit roles. Made for television, Getting Physical debuted March 20, 1984. ~ Hal Erickson, All Movie Guide

Prominently displaying red-white-and-blue title colors, this subtly patriotic fact-based movie about kids who succeed is dated by the fact that all these daring youngsters are white, without any discernible ethnicity. Dickie (Scott Schwartz) is an enterprising kid on a ranch in southern California who puts his business tendencies to practical use in several successful ventures, aided and abetted by his siblings and other friends. When Dickie & Co. become too successful, they are taken to court by their adult business rivals, but they refuse a lawyer and defend themselves. The kids win their case against their adult competitors and their lawyers, leaving the courtroom to cheers and upraised fists from a sea of youngsters outside. Three years of law school at exorbitant costs, plus a two-year internship and years of moving up a densely-runged ladder -- just to lose to an 11-year old, amazing. ~ Eleanor Mannikka, All Movie Guide

Again hoping to leave a legacy so that he will be remembered after his death, George Jefferson (Sherman Hemsley) hits upon the brilliant idea of writing his memoirs. He soon abandons this silly notion in favor of a sillier one -- the creation of the "George Jefferson Museum." Listen for the voice of Peter Lawford in this episode's uproarious conclusion (uproarious to everyone but George, that is). ~ Hal Erickson, All Movie Guide