Fred J. Scollay Movies

The detectives launch a search for a possible campus rapist when the body of a female college student is found. The ensuing investigation suddenly goes off on another tangent when evidence points to a prostitution ring involving pretty coeds. Can it be that the dead girl was a secret hooker, and that one of her colleagues killed her to keep the secret? Whatever the case, the DA's office is stonewalled by the legal maneuvers of the suspect's well-connected father. ~ Hal Erickson, Rovi

Nehemiah Persoff guest stars as elderly Jewish tailor David Steinmetz, who willingly confesses "I killed the woman I love" when police find the body of his invalid wife in their apartment. Steinmetz insists that his wife begged him to help her commit suicide, but the facts do not bear this out. And then Stone (Michael Moriarty) unearths evidence that Steinmetz, who claims to have been a Holocaust survivor, may actually have been a Nazi collaborator. The climax of the story brings Stone into open conflict with Steinmetz's fiercely protective daughter (Diane Venora). ~ Hal Erickson, Rovi

The story begins when the son of prominent politician Edward Vogel (George Martin) is killed. Rather than cooperate with the prosecution, Vogel does everything in his power to impede the D.A.'s efforts to convict the boy's murderer. The reason? Vogel does not want it made public that his son was homosexual, and that he himself was being blackmailed. ~ Hal Erickson, Rovi

In this socially conscious drama with romantic overtones, Iris (Jane Fonda) is a working mother with a job at a large commercial bakery who is still getting over the death of her husband, though her circumstances don't give her much time to grieve. She's sharing her house with her two children, Kelly (Martha Plimpton) and Richard (Harley Cross); her unemployed sister, Sharon (Swoosie Kurtz); and her thuggish brother-in-law. The tensions at home become even greater when the teenaged Kelly announces that she's pregnant. One of the few bright spots in Iris' life is her blossoming friendship with Stanley (Robert De Niro), a nice guy who works in the bakery's cafeteria. However, Iris starts noticing a few odd things about Stanley and it slowly dawns on her that he can't read. When the boss figures this out, Stanley loses his job -- an especially troubling development, as Stanley has just had to put his father in a retirement home. Homeless and out of work, Stanley turns to Iris with a special request -- he'd like her to teach him how to read. ~ Mark Deming, Rovi

Genre pioneer Larry Cohen, who broke new horror ground with the killer-baby hit It's Alive!, takes a stab at the giant-monster scenario with this enjoyable low-budget exercise. The title refers to the winged Aztec god Quetzalcoatl, represented here as a dragon-like flying lizard (thanks to some quaint but amusing stop-motion animation from David Allen), who decides to take up residence in the art-deco spire of the Chrysler Building, taking frequent jaunts in the midday sun to nip the heads off various hapless New Yorkers. The resulting bloody mess confounds detectives Shepard (David Carradine) and Powell (Richard Roundtree), who are already scratching their heads over a series of bizarre ritual murders linked to a secret Aztec cult. Into the picture comes the film's protagonist -- neurotic, sweaty, paranoid crook Jimmy Quinn (Michael Moriarty, in a tour-de-force performance), a two-bit wheel-man with aspirations of becoming a jazz pianist. After a botched diamond heist leads Quinn to Q's lair, his attempts to go straight take a side-turn as he decides to extort from the city an enormous sum in exchange for directions to the monster's nest. A few sneaky deals later, the location falls into Shepard's hands, and he leads a paramilitary assault on the Chrysler Building, where the creature's humongous egg is about to hatch. Rude, edgy, fast-paced, and peppered with witty dialogue (most of which can't be repeated here), Cohen's script retains the spirit of classic monster movies like The Beast from 20,000 Fathoms, injecting it with tough, gangster-movie moxie. Moriarty's unbelievable performance -- one of three collaborations with Cohen -- finds him chewing acres of scenery as a contemptible, loud-mouthed goon who's too funny to hate; Moriarty also composed and performed two schizophrenic piano numbers for the film. ~ Cavett Binion, Rovi

In this film based on a novel by Charles Williams, an inspector puzzling over a series of murders begins to realize that the victims are only a procession of aliases for a man involved in a multi-million dollar bond theft. The inspector (Alex Sheafe) must also deal with greedy mobsters. ~ John Bush, Rovi

The well-known short-story writer Ring Lardner, Jr. wrote the screenplay for La Mortadella, an Italian/French production with mostly English dialogue. The story concerns the difficulties and reactions of Madelena (Sophia Loren), an Italian visitor to New York City. She has come to the country carrying a huge mortadella sausage which she intends as a gift for her fiancé. U.S. Customs has other ideas, however, and she is detained until she hits upon the idea of sharing the offending foodstuff with the customs officers. Finally allowed entry into the U.S., she grows disenchanted with her fiancé and other men she meets and is only with difficulty able to make her escape to a more agreeable location. ~ Clarke Fountain, Rovi

Harry Belafonte was both producer and star of this hard-edged film noir crime drama. Dave Burke (Ed Begley, Sr.) is an ex-cop who has been kicked off the force for refusing to inform on his colleagues to the State Crime Committee. Short on money, the former policeman jumps to the other side of the law and plans to knock over a bank in upstate New York. He'll need help, so Burke brings in two other men to assist him -- Johnny Ingram (Belafonte), a jazz musician with an addiction to gambling that's put him deep in debt to gangster Bacco (Will Kuluva), and Earl Slater (Robert Ryan), a disturbed war veteran who hasn't been able to find work after serving time for manslaughter. While their common greed and desperation has brought these men together, their differences threaten to tear them apart, especially when Slater's fear and hatred of black men rises to the surface. Blacklisted screenwriter Abraham Polonsky co-wrote the screenplay for Odds Against Tomorrow, using his friend John O. Killens as a "front." John Lewis of the Modern Jazz Quartet contributed a memorable musical score. ~ Mark Deming, Rovi