Joe Spinell Movies

Action star Doug McClure plays for light humor in Nightside. This turned out to be a wise move on McClure's part, because it's next to impossible to take this made-for-TV cop drama seriously. McClure and Michael Cornelison portray two graveyard-shift L.A. patrolmen who must deal with various crises of varying importance on the eve of the USC/UCLA football game. The bane of the cops' existence are the college students who insist upon pulling pregame pranks on their beat. Intended as the pilot for a series, Nightside was first shown on June 8, 1980, where it lost most of its audience to the competing Tony Awards telecast. ~ Hal Erickson, All Movie Guide

Oingo Boingo fans and midnight movie mavens will love this bizarre black-and-white feature packed with music, madness, and members of the Elfman clan. The story revolves around the Hercules family, who live in a house that just happens to hide a secret entrance to the Sixth Dimension in the basement. When daughter Frenchy (Marie-Pascale Elfman) skips school one afternoon, she finds herself irresistibly drawn to the forbidden door, and winds up a prisoner in this alternate world. King Fausto (Herve Villechaize), the diminutive leader of the Sixth Dimension, is enamored with the beautiful young Frenchy and keeps her in the same cell as his favorite concubines, despite the disapproval of Queen Doris (Susan Tyrrell). Frenchy's brother, Flash (Phil Gordon), follows her into the Forbidden Zone with Gramps (Hyman Diamond) in tow, intending to save her, but they too are captured and must call school chum Squeezit (Toshiro Baloney, aka Matthew Bright) for help. Squeezit tries to assist, but ends up captured and decapitated by Satan (Danny Elfman), though this development doesn't keep his disembodied noggin from flying about and informing King Fausto that the Queen is planning to dispose of his beloved Frenchy. The appearance of the King's first wife and the kidnapping of his topless daughter further confuse matters, but everything is wrapped up neatly with an elaborate song and dance number at the conclusion. ~ Fred Beldin, All Movie Guide

Fact-based drama starring Robert Redford as Henry Brubaker, the new inmate at a run-down Southern prison that's become notorious for corruption and violence. After he witnesses several instances of gross misconduct and defuses a tense confrontation with a crazed inmate (Morgan Freeman), Brubaker reveals to the guards and administrators that he's not a criminal at all, but the new warden, assigned by the governor to infiltrate the facility undercover. His identity confirmed, Brubaker takes office and sets about shaping up policies and procedures, despite resistance from, incredibly, even some of the more entitled convicts. With the help of the prison's chief trustee (Yaphet Kotto) and a compassionate ally (Jane Alexander), the warden effects some positive change, but powerful business interests line up against him when his ideas threaten their financial bottom line. A reform-minded, socially conscious, and politically liberal picture of the type usually associated with director Norman Jewison, this fact-based prison drama was the result of a troubled production that saw original director Bob Rafelson replaced with Cool Hand Luke (1967) and The Amityville Horror (1979) helmsman Stuart Rosenberg. Despite the backstage turmoil, Brubaker was an acclaimed release and an Oscar-nominated, career-finale triumph for co-screenwriter Arthur A. Ross, creator of Creature From the Black Lagoon (1954) and father of successful writer/director Gary Ross. ~ Karl Williams, All Movie Guide

By concentrating on character development with this first of several sequels to his Oscar-winning smash Rocky (1976), writer/director Sylvester Stallone earned critical praise that would desert him with the boxing saga's shallower subsequent chapters. Stallone returns as Rocky Balboa, a Philadelphia prize fighter enjoying his brief fame after nearly defeating world heavyweight champion Apollo Creed (Carl Weathers). When Rocky is offered lucrative product endorsement opportunities, his limited education and lack of sophistication quickly become an impediment to his future success, causing him embarrassment and his pregnant wife, Adrian (Talia Shire), a great deal of financial concern. Meanwhile, Creed is brooding over his near loss to a fighter he considers an amateur far beneath him and decides to goad a reluctant Rocky into a high-profile rematch. With the family resources dwindling and his pride wounded, Rocky decides that fighting is all he knows and makes the fateful decision to climb back into the ring once more with Creed to vie for the championship belt, despite assurances from all concerned that he will blind himself irreparably. ~ Karl Williams, All Movie Guide

William Peter Blatty, author of The Exorcist, proved a workmanlike producer/director for 1979's The Ninth Configuration. Army psychiatrist Col. Kane (Stacy Keach) (teetering on the sanity brink himself) tries to minister to the patients in a military mental hospital. The fact that the hospital is located in a brooding old castle is hardly conducive to speedy recoveries. Nor does the mid-film barroom brawl indicate that Kane's approach to mental health is all that workable. Blatty adapted the screenplay for The Ninth Configuration from his own novel Twinkle, Twinkle, "Killer" Kane (which also served as the film's title during one of its many releases). It is hard to tell if what you're going to see is the "director's cut," since there are several versions of this film, running anywhere from 99 to 140 minutes. ~ Hal Erickson, All Movie Guide

In this touching tale, an amiable retarded delivery boy from Brooklyn works to help support his mother. Meanwhile his older brother keeps him safe from local punks; this sometimes creates turmoil for him as he must maintain a strong exterior to mask his love. While delivering his groceries, the young man often fantasizes about being Superman and marrying the young woman who works in a neighboring bakery. When he saves a child from a burning building, his fantasy becomes reality. ~ Sandra Brennan, All Movie Guide

Italian schlock-master Luigi Cozzi (billed as Lewis Coates here) directed this low-budget Star Wars rip-off in 1978, right when the sci-fi craze was hitting audiences on a world-wide scale. The story begins familiarly enough, with a huge spaceship tracking through an extremely colorful space scene while under attack by some kind of unknown and deadly force resembling a lava lamp. Being no match for the '60s acid-flashback rays, they manage to jettison a few escape pods just before being blown to kingdom come. Fast forward now to the other end of the galaxy, where we find the best smugglers in town -- gorgeous Stella Star (Caroline Munro) and space-pimp Akton (Marjoe Gortner) -- outrunning a band of cops on their tail. Eventually, they're caught, taken into custody, and sentenced to intense Labor Camps, where Stella is forced to wear a skimpy Barbarella-like outfit by the extreme, merciless guards. A break-out ensues, and in the intense laser shoot-out, Stella manages to escape, only to be captured again by the semi-green-skinned Thor (Robert Tessier) and his annoying southern-drawled robot, Elle (voiced by genre veteran Hamilton Camp). Brought in front of the Emperor of the Galaxy (Christopher Plummer) and reunited with Akton, the sexy duo find themselves suddenly in charge of finding Prince Simon (David Hasselhoff). Thus begins the heroes' amazing adventure through space and time as they search for Hasselhoff and end up fighting Amazons, Cavemen, and the Evil Count Zarth Arn (Joe Spinell) along the way. ~ Jeremy Wheeler, All Movie Guide

Originally screened as a mini-series on the NBC television network, this epic-length feature combines the entirety of The Godfather and The Godfather Part II with 15 minutes of outtakes from the two films, recutting the material into chronological order (clarifying the complex structure of The Godfather Part II, which jumped back and forth between events that occurred before and after the narrative of the first film). The Godfather 1902-1959: The Complete Epic tells the tale of the Corleone Family, from the arrival of Vito Corleone in the U.S. as a boy and his rise to criminal power as a young man (played by Robert DeNiro) to the decline of his empire decades later. While some of the original material was censored for television broadcast, when The Godfather 1902-1959: The Complete Epic was later released on home video, the altered footage was restored to its original content. However, this proved not to be the final and complete document of the Corleone saga, as Francis Ford Coppola added another chapter to the story nine years later with the release of The Godfather Part III. ~ Mark Deming, All Movie Guide

In this offbeat comedy, Jeff Bridges plays Craig Blake, a rich kid who works with a group of hard-living Southern real-estate men led by Jabo (Joe Spinell), who are buying up a business district in Birmingham, Alabama in order to clear the space and put in a new project. Craig is supposed to work out a deal to buy the Olympic Spa, a gym popular with local weight-lifters, but after spending some time at the club, Craig finds himself fascinated with the people there, especially Joe Santo (Arnold Schwarzenegger), a world-class body builder from Austria who sometimes works out in a superhero costume and likes to play bluegrass fiddle to relax. Craig also makes the acquaintance of Mary Tate Farnsworth (Sally Field), a feisty gal who hangs out with Joe. Mary Tate finds Craig attractive, but she isn't sure he's being all that sincere, and she wonders why a wealthy real estate man is hanging out with a bunch of low-rent gym rats. Stay Hungry was a critical comeback for director Bob Rafelson and kick-started the careers of both Sally Field and Arnold Schwarzenegger in their first major film roles (unless you count Arnold's misbegotten appearance as "Arnold Strong" in Hercules In New York). ~ Mark Deming, All Movie Guide

"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, All Movie Guide

Originally made as a pilot for a failed television pilot, this action crime drama centers on the exploits of a special strike force that is comprised of a Federal agent, a state trooper (a very young Richard Gere), and a New York City police officer who busted up a ring of drug dealers. The film, a typical detectives-find-the-crooks drama, is appropriately authentic with plenty of the grit, language, and concern for then neighborhood that we have come to expect from New Yorkers. Straight-ahead drama, moderate action, and solid acting mean that this film will not disappoint. Although the recent release on DVD features Richard Gere on the cover, this was one of his very first film appearances, and in a minor role at that. The DVD release does nothing to improve on what appears to be a direct transfer of an older, quite grainy film. ~ Michael Erlewine, All Movie Guide

Though set in Key West, Florida, a goodly portion of 92 in the Shade was filmed in England. Peter Fonda plays Tom Skelton, a bum who gets a job as a fishing guide in his old home town. Nobody wants to have anything to do with Skelton, least of all rival guides Nichol Dance and Carter (Warren Oates and Harry Dean Stanton). Faced with financial disaster and widespread hostility, he turns to his wealthy grandfather Goldsboro (Burgess Meredith) for help. Taking time off from his lovemaking sessions with sexy secretary Bella (Sylvia Miles), his grandfather pumps some money into Tom's operation, and our hero makes his peace with Carter. A climactic fight with Nichol puts an end to that problem, while Tom's romantic relationship with Miranda (Margot Kidder) helps him sort out his priorities. Director/writer Thomas McGuane adapted the script from his own novel. ~ Hal Erickson, All Movie Guide