Barbara Scott Movies

Twenty-two people become unwitting participants in a tragic and defining moment of the 1960's in this period drama from actor and director Emilio Estevez. It's early June in 1968, and the California presidential primary elections are occupying the minds of many in the Golden State, with Robert F. Kennedy in a close race against Eugene McCarthy and Hubert Humphrey. The Kennedy campaign staff has set up camp at the Ambassador Hotel in Los Angeles, while the staff and guests become observers as the brother of fallen president John F. Kennedy sets out to pick up where his sibling left off. Paul (William H. Macy) is the manager of the Ambassador, and his wife Miriam (Sharon Stone) is a hairdresser who runs's the hotel's beauty salon. Angela (Heather Graham) is a receptionist working the hotel's switchboard who has been sleeping with Paul behind Miriam's back. Timmons (Christian Slater) is in charge of the hotel's restaurant and catering department, and makes no secret of his dislike of the African-Americans and Latinos under his employ. Miguel (Jacob Vargas) and Jose (Freddy Rodriguez) are two young Chicanos on the kitchen staff who have it in for Timmons, while Robinson (Laurence Fishburne) is an older black man who counsels them on dealing with their rage. Virginia Fallon (Demi Moore) sings in the hotel's cocktail lounge and has a serious problem with alcohol; her husband Tim (Emilio Estevez) is a Kennedy supporter and also her manager, and he's nearing the end of his rope in dealing with her problem. William (Elijah Wood) is a young man desperate to avoid being drafted and sent to Vietnam; Diane (Lindsay Lohan) is a pretty young woman dating William's brother who agrees to marry him so William can avoid being drafted, though William is clearly infatuated with her while she considers this a marriage in name only. John Casey (Anthony Hopkins) is one of the owners of the Ambassador, and Nelson (Harry Belafonte) is an old friend who works at the hotel. And Jack (Martin Sheen) is a wealthy Kennedy campaign financier who is married to Samantha (Helen Hunt), an attractive but much younger woman. Bobby also features Joshua Jackson, Nick Cannon and Shia LaBeouf as young Kennedy campaign volunteers, while Ashton Kutcher, Joy Bryant, Kip Pardue and Mary Elizabeth Winstead also highlight the supporting cast. ~ Mark Deming, All Movie Guide

A U.S. general confronts the struggle of her lifetime when she decides to run for president in this drama. ~ All Movie Guide

Another horny-teen epic from Galaxy International, Free Ride asks us to identify with jerky preppie Gary Hershberger. Anxious to impress a sexy but monumentally stupid young woman, Hershberger claims that a snazzy red sports car that has just pulled up to a singles bar is his. He "borrows" the car and takes the girl for a joyride, little knowing that the back seat contains a quarter of a million dollars of mob money. Connect the dots and you'll figure out the rest of the story. All Free Ride really has going for it is the campy presence of 1950s sex-bomb Mamie Van Doren and a handful of raunchy verbal gags. ~ Hal Erickson, All Movie Guide

Joanna Crane (Kathleen Turner) is a cold, workaholic sportswear designer, divorced and dedicated only to her job. Once strapped into that role, Joanna looks for an "out" and finds it by donning a wig and hitting the pavement as a $50/trick hooker named China Blue. Explicit scenes show her at work on her night job, including a long S and M segment with a policeman. While making money as China Blue, Joanna runs into a menacing, fanatic preacher (Anthony Perkins) who is out to save her from this life of sin, but in the meantime, he is also busy watching nude girly shows. As China Blue and the sexually ambivalent Reverend heat up their relationship, he becomes difficult to read: is this psycho reverend a killer? While China Blue is plying her trade, Bobby Grady (John Laughlin) has finally realized after 12 years of marriage that his wife Amy (Annie Potts) is frigid and just as he has this remarkably delayed insight, he is assigned by Joanna's boss to find out if she is stealing designs or not. By tracking Joanna, Bobby sees her transformation as China Blue and as might be expected, sex is not far behind. ~ Eleanor Mannikka, All Movie Guide

This gory, scary low-budget shocker from the Roger Corman stable concerns the battle over a salmon cannery in a Pacific Northwest town. Genetically treated salmon escape the plant and are eaten by coelacanths, who mutate into humanoid monsters with giant craniums and sharp claws. The creatures begin attacking teen couples, killing the boys and mating with the girls (in some pretty graphic monster-rape scenes). Eventually, a bunch of them create total pandemonium at the annual salmon festival. Barbara Peeters directs with flair, Rob Bottin's effects are nauseatingly effective, and the cast is good, especially Vic Morrow as a racist fisherman and Doug McClure as the stalwart hero. An uncompromising shockfest with enough gratuitous blood and nudity to keep fans happy, the film features an Alien-inspired shock ending which still makes viewers jump today. ~ Robert Firsching, All Movie Guide

Stanley Kubrick dissects the nature of violence in this darkly ironic, near-future satire, adapted from Anthony Burgess's novel, complete with "Nadsat" slang. Classical music-loving proto-punk Alex (Malcolm McDowell) and his "Droogs" spend their nights getting high at the Korova Milkbar before embarking on "a little of the old ultraviolence," such as terrorizing a writer, Mr. Alexander (Patrick Magee), and gang raping his wife (who later dies as a result). After Alex is jailed for bludgeoning the Cat Lady (Miriam Karlin) to death with one of her phallic sculptures, Alex submits to the Ludovico behavior modification technique to earn his freedom; he's conditioned to abhor violence through watching gory movies, and even his adored Beethoven is turned against him. Returned to the world defenseless, Alex becomes the victim of his prior victims, with Mr. Alexander using Beethoven's Ninth to inflict the greatest pain of all. When society sees what the state has done to Alex, however, the politically expedient move is made. Casting a coldly pessimistic view on the then-future of the late '70s-early '80s, Kubrick and production designer John Barry created a world of high-tech cultural decay, mixing old details like bowler hats with bizarrely alienating "new" environments like the Milkbar. Alex's violence is horrific, yet it is an aesthetically calculated fact of his existence; his charisma makes the icily clinical Ludovico treatment seem more negatively abusive than positively therapeutic. Alex may be a sadist, but the state's autocratic control is another violent act, rather than a solution. Released in late 1971 (within weeks of Sam Peckinpah's brutally violent Straw Dogs), the film sparked considerable controversy in the U.S. with its X-rated violence; after copycat crimes in England, Kubrick withdrew the film from British distribution until after his death. Opinion was divided on the meaning of Kubrick's detached view of this shocking future, but, whether the discord drew the curious or Kubrick's scathing diagnosis spoke to the chaotic cultural moment, A Clockwork Orange became a hit. On the heels of New York Film Critics Circle awards as Best Film, Best Director, and Best Screenplay, Kubrick received Oscar nominations in all three categories. ~ Lucia Bozzola, All Movie Guide