Dean Smith Movies

Another of Disney's Touchstone Pictures rehashes of a lightweight French farce, Three Fugitives goes the trend one better by importing French director Frances Veber to supervise a shot-for-shot remake of his French original Les Fugitifs. Nick Nolte stars as a bank robber named Lucas, recently released from prison, who ambles into a bank to open up a checking account. Into the bank enters the inept Ned (Martin Short), who tries to rob the place and takes Lucas hostage. The police, knowing Lucas's criminal history, assume Lucas and Ned are pulling the heist together. With no choice in the matter, Lucas is compelled to engineer their getaway. Complicating the situation further is Ned's six-year-old daughter Meg (Sarah Rowland Doroff), who has been mute since the death of her mother. With his bank account depleted, Ned has robbed the bank to get money to send Meg to a special school. Meg loves her father, but finds herself drawn to the gruff Lucas. As the three go on the lam from the cops, the trio of misfits bond as a makeshift family. ~ Paul Brenner, Rovi

This less-satisfying sequel to the 1982 George A. Romero/Stephen King anthology presents a new trio of King stories, framed in a similar EC Comics-style format -- this time featuring some rather lackluster animated segments involving horror-host "The Creep," who introduces each chapter with pun-heavy gallows humor. The stories vary widely in quality: first there's "Old Chief Wood'nhead," involving a cigar-store Indian who quite literally guards the entrance to an old general store and comes to life to avenge the murders of the elderly couple (George Kennedy and Dorothy Lamour) who owned it. The middle segment, "The Raft," features a group of obnoxious teenagers stranded on a raft in the middle of a lake at the mercy of a murderous oil slick which looks like a bunch of plastic garbage bags stitched together. Both of these suffer in comparison to the closing segment, "The Hitchhiker," in which a bored, promiscuous socialite (Lois Chiles) mows down a hitchhiker, who refuses to stay dead, returning again and again to torment her at every turn, rasping "Thanks for the ride, lady!" Despite its strengths -- a livelier pace, some creatively gory set pieces -- this is a much cheaper-looking effort than its predecessor, with the deft guidance of Romero conspicuously absent (long-time collaborator Michael Gornick took up the directorial reins); as a result, King's gross-out sensibilities don't come off as well. Makeup maestro Tom Savini appears in heavy makeup as a live-action version of The Creep, and King pops in for a bit part as a redneck trucker. ~ Cavett Binion, Rovi

In a comedy as flat as the cardboard cut-outs of movie stars that appear in one scene, Steve Martin plays Larry Hubbard, a wild and lonely guy who has been dumped by his girlfriend. Since misery loves company, he takes up with Warren, a fellow Lonely Guy (Charles Grodin), and eventually both Warren and Larry find some surprising companions, especially after Larry writes a best-selling Lonely Guy Guide. ~ Eleanor Mannikka, Rovi

Director John Carpenter returns to the suburban landscape he explored so chillingly in Halloween (1978) with this lean, stripped-down adaptation of the Stephen King best-seller about a haunted car with a devilishly bad attitude and the teen underdog who falls head-over-heels for her chrome-accented charms. Shortly after geeky, horn-rim-sporting Arnie Cunningham (Keith Gordon) narrowly escapes a beating at the hands of shop-class bully Buddy Repperton (William Ostrander) on the first day of his senior year, he soon falls prey to a far more duplicitous villain in the form of a rusted-out 1958 Plymouth Fury nicknamed "Christine" by its crusty owner George LeBay (Roberts Blossom) -- who sells wide-eyed Arnie the old hulk despite the protests of best friend Dennis (John Stockwell) and the admonition of his domineering parents. As Arnie sets to the task of restoring Christine, his hobby grows into an obsession -- and the real power that hums beneath her hood begins to emerge, seemingly granting newfound coolness and sex appeal to the once-nerdy outcast, while simultaneously drawing away his very soul. A vengeful spirit, Christine lashes out violently at those who dare to stand between her and Arnie -- starting with Repperton and his gang, who completely trash the car, but are soon hunted down one by one and pulverized beneath the whitewalls of the miraculously-restored Fury. When Arnie's pretty, popular girlfriend Leigh (Alexandra Paul) begins to suspect she may soon be on the receiving end of automotive vengeance, she calls on Dennis for help... but a frightening midnight ride in Christine convinces Dennis that Arnie's only hope lies in destroying the demonic vehicle. ~ Cavett Binion, Rovi

Invisible Strangler tells the story of a boy who strangles his mother and while in a mental institution finds books which give him the key to making himself invisible. He then escapes from the hospital and goes on a murder spree, strangling his mother's friends in a series of unintentionally hilarious episodes, while they sit in their comfortable, expensive homes. The detective assigned to the case, Lt. Charles Barrett (Robert Foxworth) devises an unusual way to dispose of the killer. Sue Lyon, previously seen in Lolita, has a tiny role, as does Elke Somer. Originally shot in 1976 and titled The Astral Factor, this silly, obvious film sat on the shelf for 10 years before being released directly to video ~ Linda Rasmussen, Rovi

A septet of settler's children find themselves orphaned and alone following a disaster on the Oregon trail. This fact-based, family-oriented adventure chronicles their cross-country odyssey as they make their way westward. ~ Sandra Brennan, Rovi

Cicely Tyson ages from 19 to 110 in the role of Jane Pittman, a fictional African-American woman whose life began in slavery and ended at the inception of the Civil Rights Movement. Northern journalist Quentin Lerner (Michael Murphy) travels to the racially polarized south of 1962 to interview Ms. Pittman for a potential book. Her life unfolds in flashbacks, many painful and unpleasant, but just as many are uplifting and hopeful. Based on the novel by Ernest J. Gaines and filmed on location in Baton Rouge, The Autobiography of Miss Jane Pittman won nine Emmy Awards, including Best Actress (Tyson), Director (John Korty), and Screenplay (Tracy Keenan Wynn). The film premiered January 31, 1974, on CBS. ~ Hal Erickson, Rovi

Not long after a close friend of Sgt. Ed Brown (Don Galloway) disappears, the friend's abandoned fishing boat, "The Dancing Doll", washes up on shore--bearing traces of blood and gunfire. The authorities conclude that the missing friend was somehow connected with a mob hit, which in turn is tied in with a gangster's convention being held in San Francisco. Though Ironside (Raymond Burr) warns Ed to stay off the case lest he let his heart rule his head, it is the Chief who ends up putting the pieces of the puzzle together. ~ Hal Erickson, Rovi

The stars of the witty TV series I Spy were reunited for this downbeat crime thriller, which takes a much darker and more violent look at the lives of two detectives for hire. Al Hickey (Bill Cosby) and Frank Boggs (Robert Culp) are a pair of private eyes who are approached by an attorney to find his girlfriend, who has gone missing. Their investigation leads them to a large sum of money from a Pittsburgh bank robbery. It seems that the woman in question has married the leader of a leftist radical group, which is now trying to find a buyer for the tainted money. An attempt to recover both the money and the girl goes awry when Hickey and Boggs infiltrate a meeting with the radicals; the girl slips away and takes the burgled cash with her. Adding to the disaster, the meeting tips off the identity of the detectives to mobsters dealing with the radicals, and the gangsters execute Hickey's wife in an effort to keep him away from their activities. Hickey and Boggs also features Rosalind Cash, Michael Moriarity, Vincent Gardenia, Isabel Sanford, and James Woods. ~ Mark Deming, Rovi

Paul Newman plays the title role in John Huston's surreal, revisionist western as the infamous Texas hanging judge. Upon arriving in the tiny West Texas town of Vinegaroon, Roy Bean draws a moustache on a wanted poster of himself, marches into a saloon, and declares his presence. He is immediately robbed, beaten within an inch of his life, tied to a horse and dragged out into the prairie, then left to die. Rescued by a young Mexican girl, Maria Elena (Victoria Principal), Roy Bean heads back into town and murders everyone in the local saloon, declaring that he'll kill anyone of the same sort who turns up. He also sets himself up as the sole arbiter of law and order and renames the town Langtry, in honor of the legendary actress Lily Langtry (Ava Gardner). The community prospers as Judge Bean dispenses his own brand of frontier justice upon strangers passing by, robbing or killing anyone who tries to make their way through the town. But when Maria dies, Bean's old associates begin to turn on him, one at a time (in response to his constant harping on their wives, many of whom were former prostitutes) and Bean is forced to leave. Years later, Bean rides back into town, called back to the place to save his daughter from trouble - and finds that the community has been taken over by a shady character called Frank Gass (Roddy McDowall) - a circumstance that requires Bean to dispense his own unique brand of justice once again. Stacy Keach lends a neat comic turn to the film as Bad Bob, an albino gunslinger whose dining habits consist of chowing down on raw onion, drinking hot coffee from a pot, and demanding that an entire horse be cooked for his supper. John Milius (Red Dawn) scripted.
~ Paul Brenner, Rovi

Also known as Never Give an Inch, this film was based on a novel by Ken Kesey. Paul Newman (who also directed) stars as Hank Stamper, the oldest son of an Oregon logging family headed by Henry (Henry Fonda). Hank's half-brother, Leeland (Michael Sarrazin), embittered over Henry's treatment of his late mother, returns after a ten-year absence to work in the family business. Leeland's presence causes friction with Henry, who resents his prodigal son's hippie mindset, and Hank, who perceives Leeland as a threat to his own position in the family structure. Hank has good reason to feel resentful: before long, his wife, Viv (Lee Remick), has entered into an affair with Leeland. Meanwhile, Henry wages an ongoing battle with the unionized loggers in the region, who threaten reprisals should Henry attempt to continue his business without union help. ~ Hal Erickson, Rovi

John Wayne, in the last of his Civil War characterizations, portrays Cord McNally, a Union Army colonel who loses a gold shipment in a Confederate raid, during which a devoted young officer is also killed. After the end of the war, McNally bears no ill-will toward the leaders of the raid, Pierre Cordona (Jorge Rivero) and Tuscarora Phillips (Christopher Mitchum), who were acting as soldiers, but he still wants the two unknown men on the Union side who they say sold them the information about the gold shipments. A year later, McNally crosses paths with one of the men, now a deputy from Rio Lobo, who is about to take Shasta Delaney (Jennifer O'Neill), a seemingly innocent young woman, out of a neighboring town at gunpoint. A shootout ensues, in which McNally's man and three other Rio Lobo deputies are killed, with help from Cordona -- this makes McNally very interested in what's going on in Rio Lobo, and he decides to go there with Cordona and Shasta. They find a whole community under siege from their own sheriff, a sadistic ex-outlaw named Hendricks (Mike Henry). What follows is a series of confrontations and revelations that are alternately suspenseful, sadistic -- with maimings worthy of a spaghetti western and characters even getting blown to bits -- and even occasionally comical. But the pieces all tie together very neatly, despite a convoluted plot that's sort of Rio Bravo (made 11 years earlier, also starring Wayne and directed by Hawks, and scripted by Leigh Brackett) turned sideways and readjusted to a more cynical era. ~ Bruce Eder, Rovi

Having struck pay dirt with his 1958 western Rio Bravo, Howard Hawks more or less remade the picture twice in the 1960s. The first of these rehashes was El Dorado, with Rio Bravo star John Wayne back for more. Wayne plays a gunfighter who rides into El Dorado to link up with his old pal, sheriff Robert Mitchum ("It's the big one with the big two!" declared the film's advertisements). Wayne has turned down a job with evil land baron Ed Asner, who'd hoped to drive a family off the land that he needed for its water. That family, headed by R.G. Armstrong, is convinced that Wayne is working with Asner; when Armstrong's son Johnny Crawford dies, Wayne is held responsible, earning him a bullet in the spine from Crawford's sister Michele Carey. A year passes: Wayne returns to El Dorado, in the company of his new saddle pal James Caan. They find that Asner is still up to his old tricks, and that Mitchum has descended into alcoholism. Several plot twists and power shifts ensue, leading to the slam-bang climax, with the partially paralyzed Wayne, the newly crippled Mitchum (on crutches), and the concussion-suffering Caan battling together to stave off Asner's minions. The final long-shot, of Wayne and Mitchum limping off together arm-in-arm, is one of the most enduring images in the entire Hawks canon. If they loved it twice they'll love it thrice: in 1969, John Wayne and Howard Hawks teamed up for a third Rio Bravo derivation, Rio Lobo--which, like the first two films, was scripted by Leigh Brackett. Incidentally, that's famed artist Olaf Weighorst (whose paintings appear in the title sequence) in a cameo as the gunsmith. ~ Hal Erickson, Rovi