Debra Scott Movies

This drama is set in 1981, and chronicles the experiences of a 17-year-old Polish immigrant trying to adjust and survive in his new American environment. ~ Sandra Brennan, Rovi

This melodrama chronicles a couple's attempt to deal with a failing marriage in the '80s. ~ Kristie Hassen, Rovi

Tom Smothers and Carol Kane co-star with Paul Reubens and Judge Reinhold in this uneven comedy spoof of slasher films. Sergeant Cooper (Smothers) is a Canadian Mountie who investigates the death of cheerleaders attending a summer camp at Indiana's It Had To Be University. Cameo appearances by Eve Arden, Kaye Ballard, Eileen Brennan, Tab Hunter, and Donald O'Connor fail to add anything to the thin, sophomoric plot. This film should not be confused with the similarly titled 1988 Australian feature directed by Hadyn Keenan. ~ Dan Pavlides, Rovi

Impressive production values can't disguise the painfully dated premise of this TV movie which stars Robert Foxworth as an over-stressed advertising executive whose doctor prescribes a lengthy period of rest and recuperation. Foxworth decides to voyage to Hawaii -- where his grandfather once worked as a missionary -- and soon finds himself the victim of an island curse which the natives first placed upon his grandfather, who then passed it to his son, and so on... until, before he can say "Larry Talbot," Foxworth begins developing an unsightly hair-growth issue by the next full moon. Despite the exotic setting and a rather daring abundance of skin for a TV movie, this is a stodgy and completely unnecessary throwback to low-grade monster films of yore, complete with slow-dissolve transformations and rubber-teeth monster effects. ~ Cavett Binion, Rovi

Max Ehrlich adapted his own novel for the screen in this fitfully amusing paranormal thriller. College professor Michael Sarrazin feels that someone else is inside him, and is led by his dreams to a small town where Margot Kidder (Black Christmas, Superman) has murdered her cheating husband. She senses something odd about Sarrazin too, even more so when he falls for Jennifer O'Neill (Scanners), who may or may not be his and Kidder's daughter. Regardless of its merits, this film will probably best be remembered for its poster art, which depicts an anguished Sarrazin being smashed in the testicles with a boat paddle. That's what happens when actors do things like turn down Midnight Cowboy. Director J. Lee Thompson later went on to direct the even less subtle Happy Birthday to Me. ~ Robert Firsching, Rovi

In this drama a young couple suffer a terrible tragedy that forces them to begin acting like mature adults. ~ Sandra Brennan, Rovi

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, Rovi

"You've got to ask yourself a question: 'do I feel lucky?' Well, do ya, punk?" Dirty Harry provoked a critical uproar in 1971 for its "fascist" message about the power of one, as it also elevated Clint Eastwood to superstar status through his most enduring screen persona. Harry Callahan (Eastwood, in a role meant for Frank Sinatra) is a sardonic, hard-working San Francisco cop who can't finish his lunch without having to foil a bank robbery with his 44 Magnum, "the most powerful handgun in the world." When hippie-esque psycho Scorpio (Andy Robinson) goes on a killing spree, Harry and new partner Chico (Reni Santoni) are assigned to hunt him down, but not before the Mayor (John Vernon) and Lt. Bressler (Harry Guardino) admonish Callahan about his heavy-handed tactics. Racing against a deadline to save a kidnap victim from suffocating to death and unbothered by the niceties of Miranda rights and search warrants, Callahan brings in Scorpio, only to see him released on technicalities. "The law's crazy," opines Harry in disgust, before taking it upon himself to ensure that Scorpio doesn't kill again. Directed in violent and efficient fashion by Don Siegel, with a propulsive score by Lalo Schifrin, Dirty Harry was the fourth Siegel-Eastwood collaboration after Coogan's Bluff (1968), Two Mules for Sister Sara (1970), and The Beguiled (1970). Critics at the time strongly objected to the heroic image of a cop's violations of a suspect's Miranda rights, forcing Siegel and Eastwood to deny that they were right-wing reactionaries. All the same, Dirty Harry proved to be highly popular and spawned four sequels: Magnum Force (1973), The Enforcer (1976), Sudden Impact (1983), and The Dead Pool (1988). ~ Lucia Bozzola, Rovi