Joe Seneca Movies

Robert Benton's Oscar-winning adaptation of Avery Corman's bestseller takes on contemporary problems of divorce and shifting gender roles, as a jilted husband learns how to be a nurturing father. Manhattan housewife Joanna Kramer (Meryl Streep) walks out on her workaholic ad man husband Ted (Dustin Hoffman), leaving their young son Billy (Justin Henry) in Ted's less than capable hands. Through trial and error, Ted learns how to take care of Billy, devoting more energy to his family than to his work, and finally losing his high-powered job because of his new priorities. When Joanna returns with her own lucrative job and the intent to take custody of Billy, Ted finds employment that won't interfere with his paternal duties. Even though he proves that he can do it all, Joanna still wins in court. Joanna, however, rethinks her desires when she finally grasps how close father and son have become. Addressing the male side of the self-actualization question, previously explored from the female perspective in such 1970s movies as An Unmarried Woman (1978), Alice Doesn't Live Here Anymore (1974), and The Turning Point (1977), Kramer focuses on Ted's evolution from absent parent to ideal father, as he learns to balance domestic and professional lives in the shifting late-1970s social landscape. Joanna's attempt to achieve the same, however, gets buried; only Streep's sensitive performance prevents Joanna from seeming an unsympathetic harridan. Critics praised the film's realistic depiction of Ted's travails, as well as the three lead actors' work; and audiences, perhaps facing the same questions of divorce and self-realization, turned it into a box-office smash. It went on to win five Oscars, including Best Picture, Best Actor, and Best Supporting Actress. ~ Lucia Bozzola, Rovi

On a quiet midday in New York, along the Lexington Avenue subway line, the train designated "Pelham One Two Three" -- so named for its station of origin and time of departure -- makes its way down the East Side of Manhattan. One by one, three men board the train, and at 28th Street, a fourth man approaches the motorman (James Broderick) and points a pistol at him, ordering him to unlock the door to his cab and admit the man waiting there; meanwhile, another man points a gun at the conductor and threatens to kill him unless he holds the doors open and then closes them when the man talking to the motorman is aboard. Once on board, "Mr. Blue" (Robert Shaw) and "Mr. Green" (Martin Balsam) halt the train between stations, while "Mr. Brown" (Earl Hindeman) and "Mr. Gray" (Hector Elizondo) seal off the lead car. With Mr. Green at the controls, the front car is separated and isolated in the tunnel with 17 passengers aboard, and then Mr. Blue presents their demands over the radio: one million dollars in cash, within one hour, or they will start shooting one passenger each minute. On the other end, Transit Police Lieutenant Zachary Garber (Walter Matthau) must overcome his initial disbelief to deal with this threat, amid the confusion of a subway system that's chaotic even when it's running normally. With the mayor reluctantly aboard to pay the ransom, Garber must keep the hijackers from carrying out their threat while the money is transported, and keep the hotheads around him and on the police force under control -- and figure out how they intend to get away with a million dollars from inside a subway tunnel with police on all sides. ~ Bruce Eder, Rovi