Ron Stein Movies

No one believes Peg (Katey Sagal) when she rushes home from the mall claiming to have seen Elvis Presley). But when a sweat-stain in the shape of Elvis' face shows up on a shirt belong to Al (Ed O'Neill), the Bundy household is besieged by faithful acolytes of The King. Trivia note: Boris Sagal, the father of series star Katey Sagal, was the director of the 1965 Presley flick Girl Happy. ~ Hal Erickson, Rovi

A pair of youthful criminal wannabes, Chill and Bryan, concoct a "game" whereby they will kidnap a young boy and hold him for ransom. But the game turns deadly when the victim is hidden in a cave that is threatening to collapse upon him at any minute! In the original TV Guide synopsis, much was made of the fact that the young villains in this episode were portrayed by a pair of "overnight" movie stars: Richard Thomas, who'd been seen in Red Sky at Morning (and was still a year away from The Waltons, and Bryan Houser, one of the principal players in Summer of '42. ~ Hal Erickson, Rovi

An escaped convict fights for his rights while hiding out from the law in this action drama. Sam Gillen (Jean-Claude Van Damme) is a thief who, despite his criminal past, is an essentially decent man; he ended up behind bars after taking a murder rap for his partner. Sam escapes from prison in a daring jailbreak, and he hides out on a remote farm while on the run from police. A young boy named Mookie (Kieran Culkin) finds the fugitive and takes him in; it seems that the farm belongs to his mother Clydie (Roseanna Arquette), and soon Mookie and his sister Bree (Tiffany Taubman) have become friends with Sam, and Clydie and Sam fall in love. However, Franklin Hale (Joss Ackland), an unscrupulous land developer, wants to buy Clydie's farm and isn't taking no for an answer. When Hale's thug Dunston (Ted Levine) tries to use force to drive Clydie off her property, Sam is ready to fight fire with fire. Nowhere to Run was co-authored by noted screenwriter Joe Eszterhas; Richard Marquand received his story credit posthumously. ~ Mark Deming, Rovi

A star-studded cast portrays political movers and shakers in this drama about politics and the media. Richard Gere is Pete St. John, a gilt-edged "image" advisor to the likes of powerful and often crooked politicians -- including a South American candidate for the top office in his country and, reluctantly, a conservative industrialist named Jerome Cade (J.T. Walsh). Cade is after a Senate seat vacated by Sam Hastings (E.G. Marshall), a liberal politician who fits in with the views that Pete once upheld. When things start to go wrong, it looks like Cade's gruff advisor Arnold Billings (Denzel Washington) might hold one of the keys to Pete's discovery of the truth about Cade -- and may be the reason why Hastings is leaving his job. ~ Eleanor Mannikka, Rovi

High-concept director Robert Zemeckis applies his usual polish -- helped by an equally adept cast -- for this surprisingly gruesome and extremely funny black comedy. The film begins with narcissistic actress Madeline (Meryl Streep) stealing the latest in a series of potential fiancées, wimpy plastic surgeon Ernest (Bruce Willis), from her ex-best friend Helen (Goldie Hawn). Depressed and infuriated, Helen suffers a breakdown that lands her in a mental hospital -- in addition to a junk-food bender that seems to triple her weight. When Madeline crosses paths with Helen again many years later, she is horrified to discover her once-chunky rival looking younger, slimmer and more glamorous than ever before. Fearing that Helen will try to steal Ernest back -- and dreading the thought of not having a plastic surgeon at her beck and call -- Madeline solicits the supernatural services of an exotic New Age mystic (Isabella Rossellini), who sells her a potent youth elixir with the stipulation that she follow the dosage instructions to the letter... yeah, right. It appears that Helen owes her sexy comeback to the same magic formula, and the inevitable violent clash between the two well-dressed banshees leads to the realization that both women have become nearly impervious zombies, clawing at each other's throats long after the blood has run cold in their veins. Best remembered for Dick Smith's Oscar-winning makeup effects, which allow the rapidly-rotting undead femmes to toss off witty one-liners with ragged holes blasted through their bodies or spin their heads Exorcist-style. Not all the sight gags work, and Zemeckis' lighthearted treatment of such grotesque material tends to dull the satirical edge, but there are some truly inspired moments of dementia -- particularly a hilarious cameo from Sydney Pollack as a doctor who comes unglued while examining Streep (who has yet to realize she's dead). ~ Cavett Binion, Rovi

Two fathers get a crash course in caring for kids other than their own in this family-friendly comedy. Charlie Hinton (Eddie Murphy) is an advertising executive whose job monopolizes his time, making it difficult for him to stay in touch with his young son, Ben (Khamani Griffin). However, after Charlie and his partner, Phil (Jeff Garlin), are given their pink slips in the wake of a disastrous campaign for a new breakfast cereal, Charlie's wife, Kim (Regina King), goes back to work, and with the family budget tighter than before, Charlie becomes a stay-at-home dad. After pulling Ben out of an expensive and exclusive daycare center run by the humorless Gwyneth Harridan (Anjelica Huston), Charlie comes up with a brainstorm -- since he and Phil watch their own children every day, how much harder could it be to watch a few more kids and open their own day care center? Charlie and Phil discover there's much more to running a daycare center than they ever imagined, but after a very rough start, with the help of likable slacker Marvin (Steve Zahn) their new business becomes a success -- so much so that Harridan finds herself losing customers to the upstart fathers, and she starts searching for a way to shut them down. ~ Mark Deming, Rovi

Although penned by the same screenwriter, David S. Ward, this sequel to The Sting (1973) is tarnished by comparisons to its predecessor. Jackie Gleason fills the shoes of Paul Newman as Harry Gondorff and Mac Davis slips into the Robert Redford role of Johnny Hooker, two con men pals whose latest "sting" involves Hooker pretending to be a down on his luck boxer. Their goal is the fixing of a prizefight, which will rook a tacky nightclub owner (Karl Malden) out of a fortune while simultaneously getting revenge on their old nemesis, Doyle Lonnegan (Oliver Reed). On their side is Veronica (Teri Garr), a seasoned scam artist, but what Gondorff and Hooker don't know is that Lonnegan is manipulating events behind the scenes. Director Jeremy Paul Kagan followed up this terribly unfunny and inferior sequel with the much better received The Journey of Natty Gann (1985), while Ward became a director of such comedies as Major League (1989) and King Ralph (1991). ~ Karl Williams, Rovi

Peter Bogdanovich's early career as a film writer stood him in good stead for this comedy drama about the early days of the motion-picture industry, based in part on his interviews with pioneering directors Raoul Walsh and Allan Dwan. Leo Harrigan (Ryan O'Neal) is a lawyer and Buck Greenway (Burt Reynolds) is a cowboy and gunman. Both are sent to California to shut down a renegade group of silent-movie makers -- financed by blustery H.H. Cobb (Brian Keith) -- who are in violation of the Motion Picture Patents Co. Trust. Harrigan and Greenway somehow find themselves working with the movie crew instead of shutting them down; they join forces with cameraman Franklin Frank (John Ritter), leading lady Kathleen Cooke (Jane Hitchcock), and precocious prop girl Alice Forsyte (Tatum O'Neal). Greenway becomes a star and Harrigan a respected director, but both battle over the affections of Cooke. Incidentally, Cobb's big speech near the end is taken almost verbatim from a quote given to Bogdanovich in an interview with actor James Stewart. ~ Mark Deming, Rovi