Joe Turkel

This interesting genre-jumping sci-fi/horror film plays much like a low-budget derivative of Alien and The Thing with a clever occult twist. The story takes place in lunar orbit, where a maintenance spaceship becomes marooned after a mysterious accident. Cut off from Earth contact and rapidly losing power, they encounter another derelict craft and its dead, mutilated occupant. They board the other ship to draw on its power plant, taking the corpse aboard for study, and soon discover that the ship was part of the U.S. Discovery program, reported lost after splashdown in the Bermuda Triangle -- at a point in direct line with the moon's dark side. Unfortunately for the crew, the significance of this correlation is discovered too late, as the evil force residing within the dead spaceman's body emerges to take possession of the crew's souls. This leads to a confusing game of "musical souls" as the paranoid survivors turn on each other, never sure which of them is acting under demonic influence. Although not particularly an original concept, this is still a very tense, nightmarish film, with high production values, claustrophobic atmosphere and some nail-biting moments. The filmmakers' attempts to communicate the crew's increasing confusion and paranoia are quite effective, though things go a bit overboard at the climax. ~ Cavett Binion, All Movie Guide

"All work and no play makes Jack a dull boy" -- or, rather, a homicidal boy in Stanley Kubrick's eerie 1980 adaptation of Stephen King's horror novel. With wife Wendy (Shelley Duvall) and psychic son Danny (Danny Lloyd) in tow, frustrated writer Jack Torrance (Jack Nicholson) takes a job as the winter caretaker at the opulently ominous, mountain-locked Overlook Hotel so that he can write in peace. Before the Overlook is vacated for the Torrances, the manager (Barry Nelson) informs Jack that a previous caretaker went crazy and slaughtered his family; Jack thinks it's no problem, but Danny's "shining" hints otherwise. Settling into their routine, Danny cruises through the empty corridors on his Big Wheel and plays in the topiary maze with Wendy, while Jack sets up shop in a cavernous lounge with strict orders not to be disturbed. Danny's alter ego, "Tony," however, starts warning of "redrum" as Danny is plagued by more blood-soaked visions of the past, and a blocked Jack starts visiting the hotel bar for a few visions of his own. Frightened by her husband's behavior and Danny's visit to the forbidding Room 237, Wendy soon discovers what Jack has really been doing in his study all day, and what the hotel has done to Jack. ~ Lucia Bozzola, All Movie Guide

This Americanized remake of Lina Wertmuller's The Seduction of Mimi offered audiences the novelty of seeing Richard Pryor performing three different roles in the same film. Which Way Is Up? tells the tale of Leroy Jones (Pryor), a poor orange picker who gets fired from his job when he accidentally joins a worker's union during a demonstration. He is forced to travel to Los Angeles and abandon his family, which includes his wife, Annie Mae (Margaret Avery), and his perpetually randy father, Rufus (also Pryor). While there, he falls in love with labor organizer Vanetta (Lonette McKee), but is soon rehired by his former employers when they realize he is easily manipulated. Back home, Leroy discovers his new managerial role alienates him from his former friends as he tries to divide his time between Annie Mae and Vanetta. When he discovers Annie Mae has been impregnated by the Reverend Lennox Thomas (Pryor's 3rd role) during his absence, Leroy sets his sights on seducing Lennox's wife. The resulting film had ambition to spare, but was generally panned as an inferior remake by the critics and failed to find a mass audience. However, Which Way Is Up? gained a second lease on life via cable and home video and has become a cult favorite with Pryor's fans. ~ Donald Guarisco, All Movie Guide

"The German Air Force is not at all what it used to be," says Anne Bancroft's Countess, about 16 minutes into The Hindenburg, pausing and then adding, "But then, nothing is these days." That seems to sum up the ponderous, irony-laden script and plot of Robert Wise's movie, which is posited -- in true post-Watergate fashion -- upon notions of conspiracy and cover-up behind the destruction of the German airship. The movie opens with a handy Universal newsreel that gives a vestpocket history of lighter-than-air flight, and that carries us to 1937 Germany. Colonel Franz Ritter (George C. Scott), a former hero pilot now working for military intelligence, finds himself assigned to the flight of the Hindenburg as chief of security; reports and rumors about the destruction of the zeppelin have circulated both in Germany and America, and the Nazi government takes these very seriously. What Ritter walks in on is a "Grand Hotel" of the air, several dozen passengers and crew whose ranks contain enough red herrings to keep Ritter (and us) jumping through hoops for most of the first half of the film, when we're not watching glorious shots of the zeppelin in flight. The answer to the script's presentation of the plot against the airship,and theidentityof the bomber and his motivations, are actually presented in the first 15 minutes, but there are so many false leads, subplots, and blind alleys put before us that the solution will probably pass by unnoticed. In the meantime, Ritter dances around with his ex-paramour (Bancroft), scheming businessmen (Gig Young), and passengers with skeletons in their closets (Alan Oppenheimer), an entertainer (Robert Clary) with a knack for offending loyal Nazis, several officers and crew with known "political" differences with the Nazi Party, a Gestapo man (Roy Thinnes) who's got an agenda of his own, and two genuine mystery men (Burgess Meredith, Rene Auberjonois) who don't seem to have any reason for traveling on this particular voyage. It's all a little tiring, or would be, if the setting and special effects weren't that interesting, and the cast wasn't so entertaining to watch in these relatively thankless roles. ~ Bruce Eder, All Movie Guide

This action/comedy picture follows the adventures of a group of anti-war, anti-establishment guerillas, who come up with a scheme to destroy Fort Knox with an atom bomb. The most notable feature of this film is that it features Brandon de Wilde in his last performance. ~ Clarke Fountain, All Movie Guide

Wounded and in a state of shock, Officer Pete Malloy (Martin Milner) is held captive by two escaped convicts in a small café. Malloy's partner is told that unless he frees the convicts' comrade from jail, Pete will be killed. It is at this point that the department's S.W.A.T. team swings into action--and this being a Jack Webb production, the viewer is given a crash course on this elite unit's modus operandi. ~ Hal Erickson, All Movie Guide

Candy makes good his long-standing promise to quit the Ponderosa to join his longtime sweetheart Lila Holden (Elizabeth MacRae) in the town of River Bend. His dreams of starting life anew are shattered when he is arrested on a trumped-up charge and held without bail. Hoping to help Candy out, the Cartwrights enter into a dangerous confrontation with murderous, graft-grabbing Sheriff Booker (Robert Wilke and his equally disreputable deputy Horn (Steve Brodie). Written by David Lang, "Trouble Town" originally aired on March 17, 1968, then was afforded a special "encore presentation" by NBC in the Spring of 1972. At present, two differently edited syndicated versions exist of this title. ~ Hal Erickson, All Movie Guide

Steve McQueen received his only Academy Award nomination for his performance in this epic-scale war drama, based on the novel by Richard McKenna. In 1926, as China teeters on the edge of political revolution in the midst of a civil war, the USS San Pablo, is ordered to patrol the Yangtze River to represent and protect American interests. While the San Pablo may be an American ship, much of the labor is actually performed by Chinese locals willing to work for American money, while stern but inexperienced commanding officer Captain Collins (Richard Crenna) frequently drills his charges, unsure what else to do. A machinist's mate with just under a decade of navy service behind him, Jake Holman (Steve McQueen) is assigned to the San Pablo and immediately makes enemies among the crew -- he prefers to do his own work rather than farm it out to others, and the one Chinese man who works by his side, Po Han (Mako), is treated as an apprentice rather than a servant. Holman also falls in love with an idealistic American missionary (Candice Bergen), while his shipmate Frenchy (Richard Attenborough) falls for a Chinese girl and - with marriage plans in mind - kidnaps her to prevent her from being auctioned off. As Holman's methods and attitudes continue to anger his comrades, they find themselves increasingly at odds with the Chinese, especially after Frenchy's girlfriend becomes pregnant and Po Han is captured by revolutionary forces and branded a traitor. ~ Mark Deming, All Movie Guide

Based on the same H.G. Wells story as his later Food of the Gods, this silly but good-looking fantasy from Bert I. Gordon is among his more entertaining films. The young Ron Howard plays Genius, who develops a substance which causes animals to grow to monstrous size. After eight kids (led by Beau Bridges and Tisha Sterling) crash their car in the mud, they dance and get drunk, then steal some food containing the growth-gunk, causing them to attain huge physical size as well. It's up to the good teens of the town (including Tommy Kirk, Johnny Crawford from The Rifleman, and "Mickey" crooner Toni Basil) to set things right. That involves a gas-like antidote and a lot of subpar musical numbers from the likes of Freddy Cannon and the Beau Brummels. Joseph Turkel and Rance Howard are also in the cast, and a jokey ending features a number of midgets including Felix Silla, best known as Cousin Itt on TV's The Addams Family. The first in a projected 13-picture production deal with Joseph E. Levine, Gordon followed this with the William Castle-inspired Picture Mommy Dead. ~ Robert Firsching, All Movie Guide

A deft blend of comedy and suspense, "Alias Joe Cartwright" affords series regular Michael Landon the opportunity to play a dual role: His usual characterization of Joe Cartwright, and murderous Army deserter Angus Borden. Mistaken for Borden, Joe is sentenced to a firing squad by martinet Captain Merced (Douglas Dick). But Sgt. O'Rourke (Keenan Wynn) suspects something is amiss, especially when Merced makes it clear that he knows Joe is innocent but is determined to go through with the execution anyway. Throughout the episode O'Rourke's favorite patsy, the hapless Private Peters (Joseph Turkel), runs himself ragged trying to find out if Joe is indeed who he claims to be. Also in the cast is familiar character actor Dave Willock, here seen as an overly unctuous hotel clerk. Originally telecast on January 26, 1964, "Alias Joe Cartwright" was written by Robert Vincent Wright. ~ Hal Erickson, All Movie Guide

Written by mystery master Rod Serling, The Yellow Canary stars Pat Boone as insufferable singing idol Andy Paxton. Barbara Eden plays his wife Lissa, who is fed up with her husband's egotistical attitude and is ready to leave him. When their baby son is kidnapped, Andy Paxton refuses to enlist the help of the police. He still does not cooperate even after three people are murdered in crimes apparently related to the kidnapping. Finally, acting on his own, he agrees to pay $200,000 in ransom, but the kidnapper never shows up at an arranged meeting. In desperation, the singer finally gets more involved in tracking down the kidnapper. ~ Michael Betzold, All Movie Guide

Prolific director Joseph Pevney is better known for his next venture -- the Star Trek television series -- than this conventional docudrama on mobster "Dutch" Schultz (played by Vic Morrow). Rather than take the focus of 1997's Hoodlum, in which Schultz's attempt to move into Harlem is thwarted, the events leading to the demise of the nearly illiterate, Bronx-born, "king of beer" are stressed. His affair with Iris Murphy (Leslie Parrish) also gets front-and-center treatment when Iris leaves her policeman husband to hook up with Schultz, only to degenerate into alcoholism. To the credit of the director, the repugnant Schultz (whose real name was Arthur Flegenheimer) is not romanticized, even though the legend of his "buried treasure" and the literary non-sequitur of his famous, 1935 deathbed ramblings would tend to lure anyone into digressions. ~ Eleanor Mannikka, All Movie Guide