Leonard Termo Movies

The main attraction of this otherwise undistinguished Silence of the Lambs rip-off is former '70s exploitation star Pam Grier playing a police chief. The plot involves a murderous psychotic who volunteers for a medical experiment in order to escape his confinement. Teaming up to catch him are a retired "mindwalker" who can place herself inside the killer's head, and the cop who arrested him and regrets not killing him when he had the chance. ~ Brian Gusse, 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

Here's a fictionalized account of Jack Ruby's perspective of the events leading up to his assassination of Lee Harvey Oswald. Danny Aiello appears convincingly as the nightclub-owner Ruby who (according to this telling) points the finger at an FBI conspiracy as the force behind the Kennedy assassination. The film includes some actual footage from Ruby's Oswald shooting. ~ Rovi

In this fictionalized account based on true figures, a foursome of young thugs decides to team up and take control of New York's east side from the aging bosses who control it. Bugsy Siegel (Richard Grieco) and Frank Costello (Costas Mandylor) control the physical elements of the operation, while Lucky Luciano (Christian Slater) and Meyer Lansky (Patrick Dempsey) bring up the business end. ~ John Bush, Rovi

A horror film set in a New York nightclub, Midnight Cabaret is the story of an actress (Laura Herrington) suspected of killing several of her cast-mates. The police investigator assigned to the case (Bruce Wright) finds that the truth involves a Satanic cult trying to bear the Anti-Christ. ~ John Bush, Rovi

Produced for theatrical released by PBS' American Playhouse, Bloodhounds of Broadway is not exactly a remake of the 1952 film of the same name, though both pictures use the same Damon Runyon stories as inspiration. The scene is Broadway: the time is New Year's Eve, 1928. Madonna plays small town girl-turned-hoofer Hortense Hathaway, who loves gambler Feet Samuels (Randy Quaid) more than somewhat. Since it is known far and wide that Feet has not a penny to his name, he must find some way to pay off his debts in a hurry. So he offers to sell his huge feet to a demented-an operation which will, alas, cost Feet the use of his life. Upon waking up to the fact that Hortense loves him, Feet decides that he prefers breathing to pushing up daisies. Meanwhile, a society doll named Harriet MacKyle (Julie Hagerty) turns on the spigots when her pet parrot is laid low by a clumsy gunman. And while all this is transpiring, high-roller Regret (Matt Dillon) has to beat a murder rap. Even while Regret is sweating it out, "The Brain" (Rutger Hauer), who is bleeding profusely after confronting the business end of a shiv, searches high and low for someone willing to donate blood to save his life. If you can, keep an eye out for author William Burroughs as a butler. Bloodhounds of Broadway was the first non-documentary effort of filmmaker Howard Brookner-and the last, since he died before the film was released. To gloss over the film's plot holes, the distributors added a Winchell-like narrator to the proceedings, courtesy of actor Joseph Sommer. ~ Hal Erickson, Rovi

Charles Bukowski, the talented crown prince of self-abuse, wrote the short stories upon which the surprisingly entertaining Barfly was based. The film concentrates on alcoholic writer Mickey Rourke (the Bukowski alter ego) who carries on a hate-hate relationship with bartender Frank Stallone. Rourke makes the acquaintance of another of society's castaways, Faye Dunaway, who in addition to being a souse is said to be crazy. They move in together, even though Dunaway all but promises to be unfaithful for the price of a drink. Rourke has a chance to clean up his act when offered a large commission for his writings by publisher Alice Krige. They too end up in bed, each trying to change the other. The clarion call of the cheap wine bottle overrides Rourke's half-hearted efforts to enter the mainstream. Watch for author Charles Bukowski, as well as Fritz "Pop!" Feld and Vance Colvig (who's made a career out of playing street people) in Barfly bit parts. ~ Hal Erickson, Rovi

Timothy Hutton stars in this rabble-rousing movie in the tradition of Rocky, directed by Bob Clark. Hutton plays Jimmy Lynch, the younger brother of New York City firefighter Terry (Robert Urich). Terry is off-duty and has been drinking but rescues a young girl for a dangerous fire. When he injures himself in the fire and is hospitalized, New York City refuses to pay for his medical expenses because he was intoxicated during the rescue. Incensed that Mayor Tyler (Robert Culp) refuses to look after his brother, Jimmy decides to take them all on and mounts a series of public stunts designed to embarrass the mayor. Along the way, Jimmy becomes a folk hero, since he hides his identity behind the signature "Turk 182!" Jimmy is now a celebrity and consents to sit down for a television interview to reveal his true identity. But when the television station fails to broadcast the interview due to political pressure, Jimmy takes it upon himself to stage one final elaborate stunt to make the public aware of Terry's plight. ~ Paul Brenner, Rovi

Combining electric song and dance performances with drama (both on and off screen), Francis Ford Coppola's The Cotton Club (1984) looks back to the 1920s-1930s peak of the legendary Harlem nightclub where only blacks performed and only whites could sit in the audience. Mixing historical figures with characters loosely based on actual people, Coppola and co-writers William Kennedy and The Godfather's Mario Puzo create a panorama of love, crime, and entertainment centered on the Club. Among them are cornet player Dixie Dwyer (Richard Gere, playing his own solos), who escapes psycho gangster "benefactor" Dutch Schultz (James Remar) for a George Raft-type Hollywood career as a gangster film star; Schultz's nubile mistress Vera Cicero (Diane Lane), who loves Dixie against her mercenary instincts; Cotton Club Mob owner Owney Madden (Bob Hoskins) and close associate Frenchy Demarge (Fred Gwynne); Vincent (Nicolas Cage), Dixie's no-good Mad Dog Coll-esque brother; Club tap star Sandman Williams (Gregory Hines), who woos ambitious light-skinned Club singer Lila Rose Oliver (Lonette McKee); and cameos by Charles "Honi" Coles and Cab Calloway impersonator Larry Marshall. Complementing the period story, Coppola evokes the style of '30s gangster movies and musicals through an array of old-fashioned devices like montages of headlines, songs and shoot-outs. Conceived by producer Robert Evans as his crowning achievement and directorial debut, Evans had to hand over the troubled production to Coppola, but the budget spiraled out of control as the script was repeatedly re-written throughout the chaotic shoot. By the time it was released, The Cotton Club's epic production story of power struggles, financial bloat, and even a murder overshadowed the "reunion" of The Godfather's creative team. Neither a Heaven's Gate-sized failure nor a wallet-saving hit like Coppola's Apocalypse Now, The Cotton Club got some favorable critical notices (although it drew fire for subordinating the African American stories). It did not, however, find a large enough audience to justify its expense and controversy, becoming another mark against 1970s "auteur" cinema in increasingly blockbuster-driven 1980s Hollywood. ~ Lucia Bozzola, Rovi

Set on the streets of New York's Little Italy, this dramatic series of character studies chronicles the lives and relationships between a disparate pair of Italian American cousins. Both of them want to leave the poverty of ghetto life, but each takes a dramatically different route when one of them joins the mob and the other accidentally impregnates his girlfriend. When the young gangster gets into deep trouble, the other must reevaluate his goals and his true feelings about his family. ~ Sandra Brennan, Rovi

Heart Like a Wheel stars Bonnie Bedelia as real-life racing champion Shirley "Cha Cha" Muldowney. Overcoming sexist hurdles, Shirley works hard to qualify for the major auto race competitions of America. Firmly in her cheering section is her dad (Hoyt Axton), and--at least at first--her husband, mechanic Jack Muldowney (Leo Rossi). When Jack, jealous of Shirley's success, leaves her, she casts her lot with troublesome banned racer Connie Kalita (Beau Bridges). The film comes to a head at the 1966 National Hot Rod Association World Championship, which Shirley eventually wins three times. ~ Hal Erickson, Rovi