Ed Walsh Movies

At times, Another 48 Hrs. seems less like a sequel to than a parody of the first 48 Hrs., especially when Nick Nolte, repeating his role from the earlier film, begins commenting on the cliched absurdity of the goings on. This time, Nolte risks life, limb and career as he obsessively tries to bring an elusive master criminal known as "The Iceman" to justice. Eddie Murphy, who stole the show in the first 48 Hrs. as the wheeler-dealer convict who becomes Nolte's reluctant partner, is brought into the plotline of the second film when a contract is taken out on his life. The adversarial relationship between Nolte and Murphy, supposedly dissipated by the end of the first film, is revivified in the sequel via a couple of plot devices. Still, Murphy rallies to the occasion, in the process saving Nolte from being thrown off the force. Though not as successful as the first film, Another 48 Hrs. proved that there were still enough Eddie Murphy fans around in 1990 to insure a strong box-office showing. ~ Hal Erickson, All Movie Guide

Joe Pytka's comedy stars Richard Dreyfuss as Trotter, a cab driver who gets a hot tip on a horse race and soon finds himself on the gambling hot streak of his life. ~ Jason Ankeny, All Movie Guide

The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud's closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than blatantly verbal terms. (If the characters told you that the story was a retelling of the Camelot legend in baseball terms, would you have watched?) Another plus is the pastoral theme music by Randy Newman, which has been well utilized on sports broadcasts and "human interest" TV documentaries ever since. The baseball scenes in The Natural were staged at War Memorial Stadium in Buffalo, New York. ~ Hal Erickson, All Movie Guide

Jim (James Garner) reluctantly serves on the jury in the trial of George Bassett (Mills Watson), who has been charged with manslaughter while driving drunk. When a mistrial is declaring thanks to a hung jury, Bassett hires Jim to prove his innocence. The key to the solution would seem to be in the hands of a woman claiming to be the victim's sister--but let's not discount those two brothers (Robert Sampson, James Karen) who run the law firm where George is employed. ~ Hal Erickson, All Movie Guide

In his second Streets of San Francisco guest appearance, Pat Hingle is cast as Alfred Mossman, a man suffering from acute paranoia. Convinced that he is being stalked by a criminal, Mossman fires a gun at a man lurking outside his home--and ends up shooting a police officer by mistake. Mossman's clumsy efforts to cope with the shooting result in disastrous complications that not even Stone (Karl Malden) and Robbins (Richard Hatch) are able to prevent. ~ Hal Erickson, All Movie Guide

Given the title Foster and Laurie and the added fact that the protagonists are two cops, one might deduce that this TV movie was the pilot for a potential series. Not this time: The two leading characters are killed almost before the opening credits fade! In flashback, the film traces the law-enforcement careers of African American Gregory Foster (Dorian Harewood) and Italian American Rocco Laurie (Perry King). Friends as well as partners, Foster and Laurie endeavor to improve community relations in their crime-ridden Lower East Side precinct--which results in their being murdered by three militant extremists, who hope to intimidate the rest of the force (at the time the film was made, this motivation for the crime was still pure speculation). The killings have the opposite effect, as the rest of department rallies against its enemies, inspired by the memory of their fallen comrades. Foster and Laurie was based on the book by Al Silverman. ~ Hal Erickson, All Movie Guide

Lonely vampire Count Yorga and his bloodthirsty cohorts begin living in a ramshackle mansion located near an orphanage. This slightly fang-in-cheek horror film chronicles what happens when the Count falls in love with a toothsome young woman and tries to make her his bride. Fortunately for her, her boy friend has other ideas. ~ Sandra Brennan, All Movie Guide

Centuries old Count Yorga (Robert Quarry) is a vampire that is given a ride to his gloomy mansion in the woods by Paul (Michael Murphy) and Donna (Judith Lang) in their Volkswagon van. On the way out of the woods, the vehicle becomes stuck in the mud, but the duo refuses to return to the creepy house. After the two make love, Donna is bitten by the Count. Paul becomes suspicious when she starts to devour cats and a seance reveals some uneasy feelings about the Count. Donna is examined by Dr. Hayes (Roger Perry), and the dedicated physician brings wooden stakes to the Volkswagon. While the demented demon looks on and shrieks with delight, a bevy of vampire beauties eats the doctor alive after he falls into the Count's trap. Unnecessary narration is employed to explain the action. ~ Dan Pavlides, All Movie Guide