Robert Shields Movies
- 2012
Writer/director Tommy Stovall follows up his provocative 2005 feature debut Hate Crime with this soul-searching drama depicting the profound personal transformations experienced by a powerful advertising executive and a stressed-out lawyer over the course of one life-altering day in mystical Sedona, AZ. Successful ad woman Tammy (Frances Fisher) is driving from Portland to Phoenix to meet a big potential client when she's run off the road by a small airplane making an emergency landing. At first infuriated by the eccentric locals, she gradually begins to suspect that she may have ended up in Sedona for a reason as she waits for an area mechanic to repair her car and faces her difficult past for the very first time. Meanwhile, amidst the towering red boulders, workaholic lawyer Scott (Seth Peterson), his partner Eddie (Matt Williamson), and their two sons embark on a hiking trip that turns unexpectedly tense when seven-year-old Denny disappears into the sun-scorched landscape. As Scott searches frantically for his missing son, he realizes that his priorities have somehow gotten all mixed up and he begins to put his life into some much-needed perspective. With nightfall approaching, both Tammy and Scott find their skepticism about Sedona fading with the setting sun. ~ Jason Buchanan, Rovi
- Starring:
- Frances Fisher, Seth Peterson, (more)
- 1986
Hans Christian Andersen's popular tale of a loyal toy soldier who overcomes many dangers to return home provides the basis of this live-action adventure. ~ Sandra Brennan, Rovi
- 1984
Somewhat belatedly entering the Machine Age, Boss Hogg (Sorrell Booke) fires Roscoe (James Best), purchases a robot named Bobbie Joe (played by Robert Shields of "Shields and Yarnell" fame) and pins a sheriff's badge on the clattering hunk of tin. Little does Boss know that the robot has been stolen from its inventor by a pair of crooks who intend to hold it for ransom. Things get even worse when the crooks change their plans and use Bobbie Joe to rob a bank--carefully pinning the blame on Roscoe and the Duke boys! ~ Hal Erickson, Rovi
- 1979
In the made-for-television film Wild, Wild West Revisited, the classic comedy/espionage/western television series is brought up to date with a story featuring government agents Jim West and Artemus Gordon leaving retirement to battle Miguelito Loveless, who is planning to conquer the earth by cloning world leaders. ~ Stephen Thomas Erlewine, Rovi
- Starring:
- Robert Conrad, Ross Martin, (more)
- 1979
- PG
In this exciting adventure, two slaves escape and along with a widow go searching for Spanish treasure in the potentially deadly Florida Everglades. The film is titled Black Rage on video. ~ Sandra Brennan, Rovi
"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?
Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, Rovi
Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, Rovi
- Starring:
- Robert De Niro, Cybill Shepherd, (more)
Made between The Godfather (1972) and The Godfather Part II (1974), and in part an homage to Michelangelo Antonioni's art-movie classic Blow-Up (1966), The Conversation was a return to small-scale art films for Francis Ford Coppola. Sound surveillance expert Harry Caul (Gene Hackman) is hired to track a young couple (Cindy Williams and Frederic Forrest), taping their conversation as they walk through San Francisco's crowded Union Square. Knowing full well how technology can invade privacy, Harry obsessively keeps to himself, separating business from his personal life, even refusing to discuss what he does or where he lives with his girlfriend, Amy (Teri Garr). Harry's work starts to trouble him, however, as he comes to believe that the conversation he pieced together reveals a plot by the mysterious corporate "Director" who hired him to murder the couple. After he allows himself to be seduced by a call girl, who then steals the tapes, Harry is all the more convinced that a killing will occur, and he can no longer separate his job from his conscience. Coppola, cinematographer Bill Butler, and Oscar-nominated sound editor Walter Murch convey the narrative through Harry's aural and visual experience, beginning with the slow opening zoom of Union Square accompanied by the alternately muddled and clear sound of the couple's conversation caught by Harry's microphones. The Godfather Part II and The Conversation earned Coppola a rare pair of Oscar nominations for Best Picture, as well as two nominations for Best Screenplay (The Godfather Part II won both). Praised by critics, The Conversation was not a popular hit, but it has since come to be seen as one of the artistic high points of the decade, as well as of Coppola's career. Its atmosphere of paranoia and suspicion, combined with its obsessive loner antihero, made it prototypical of the darker "American art movies" of the early '70s, as its audiotape storyline also made it seem eerily appropriate for the era of the Watergate scandal. ~ Lucia Bozzola, Rovi
- Starring:
- Gene Hackman, John Cazale, (more)
- 1971
Banyon is an A-number-one detective yarn set (very accurately) in the 1930s. Robert Forster, emulating John Garfield in virtually every scene, plays private eye Miles C. Banyon. Right now he's in dutch because a beautiful young woman has been found murdered--and Banyon's gun was the murder weapon. This state of affairs plunges the detective into a maelstrom of deceit and double-cross involving (among many elements) a Winchell-style radio commentator (Jose Ferrer), a paroled big-time gangster, a scar-faced assassin, and a Nazi Bund camp. Once he solves the main mystery, Banyon is faced with the unhappy Maltese Falcon task of exposing a close friend as a murderer. First telecast March 15, 1971, Banyon spawned a brief TV series one year later, with Robert Forster still in the lead. ~ Hal Erickson, Rovi
- Starring:
- Robert Forster, Darren McGavin, (more)
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