Tracey Walter Movies

Robert Duvall is cast as a suspended New York cop who sets out on a one-man crusade to avenge his cop-partner's murder. ~ Rovi

Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. Jewish comedy writer Alvy Singer (Allen) ponders the modern quest for love and his past romance with tightly-wound WASP singer Annie Hall (Diane Keaton, née Diane Hall). The twice-divorced Alvy knows that it's not easy to find a mate when the options include pretentious New York intellectuals and lifestyle-obsessed Rolling Stone writers, but la-di-dah-ing Annie seems different. Along the rocky road of their coupling, Allen/Alvy weigh in on such topics as endless therapy, movies vs. TV, the absurdity of dating rituals, anti-Semitism, drugs, and, in one of the best set pieces, repressed Midwestern WASP insanity vs. crazy Brooklyn Jewish boisterousness. Annie wants to move to Los Angeles to find that fame that finally does in the relationship -- but not before Alvy gets in a few digs at vacuous, mantra-fixated California. Originally entitled Anhedonia (the inability to enjoy oneself), Annie Hall blended the slapstick and fantasy from such earlier Allen films as Sleeper (1973) and Bananas (1971) with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, Annie Hall beat out Star Wars for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. ~ Lucia Bozzola, Rovi

Paul Schrader's directorial debut examines the trials of Detroit autoworkers living at the mercy of a heartless corporation and a corrupt union. Surviving from paycheck to paycheck, Checker Cab assembly linemen Zeke (Richard Pryor), Jerry (Harvey Keitel), and Smokey (Yaphet Kotto) scrape by and take pleasure in a few rounds of beer or bowling (and occasional illicit amusements). But when their money troubles pile up, Jerry and Smokey join Zeke in a desperate plan to steal cash from their local union office. Along with a piddling $600, they unexpectedly swipe evidence of union corruption. Deciding to use it for blackmail, the men discover instead how powerfully malevolent the union can be in a system that counts on petty divisiveness to keep the larger power structure intact. Inspired by stories of real-life disillusionment, Schrader and his brother/co-writer Leonard Schrader took on politically difficult issues of race and corporate labor, infusing the indictment of unions with a suggestion of post-Watergate paranoia about forces beyond the union that keep workers in their place. From the opening sequence of the assembly line to the final evocative freeze-frame, Schrader maintains an atmosphere of gritty realism, with the lead trio lending low-key dramatic force to a situation beyond their control. Too downbeat for a late '70s audience increasingly drawn to happier fare, Blue Collar flopped, yet it did earn Schrader critical accolades. Although he has reportedly since disowned the film, Blue Collar remains one of Schrader's best works, with Zeke and Jerry powered by the same sense of simmering frustration that would explode so effectively in Affliction two decades later. ~ Lucia Bozzola, Rovi

"Oh my God, that's my daughter." So read the advertising copy of Hardcore. George C. Scott plays Jake Van Dorn, a man of means and conservative values who discovers that his precious daughter is appearing in X-rated films. Desperately making his way through the sub-rosa world of pornography, Van Dorn talks to pimps, prostitutes, and other such sterling individuals in hopes of locating his daughter and dragging her home. At one point, he falsely advertises himself as a porn producer in hopes that his little girl will show up for an interview. ~ Hal Erickson, Rovi

Taking over for Gary Cooper, Lee Majors stars as Marshal Will Kane in this made-for-TV movie set a year after the original High Noon ends. ~ Jason Ankeny, Rovi

Oliver Stone's first directorial effort for a major studio (and his second horror film after the 1974 Seizure) came shortly after the phenomenal success of Midnight Express, which was based on Stone's Oscar-winning screenplay. The director turned to Mark Brandel's obscure thriller "The Lizard's Tail" as source material for what is essentially a silly psychosexual variant on low-budget horror films like The Crawling Hand. The title appendage belongs (for a while, anyway) to smug, conceited artist Joe Lansdale (Michael Caine), who owes his success to a popular comic strip featuring a macho, Conan-type hero. After Lansdale's drawing hand is sheared off in a grisly car accident, his career, dignity, self-control and even his sanity soon begin to abandon him as well. His tenuous relationship with his wife Anne (Andrea Marcovicci) falls apart as she takes steps to improve her own self-worth -- something she had never had the strength to do before the accident. Bitter and paranoid, Joe begins to lash out in anger at everyone around him ... and becomes convinced that his severed hand has come back, wandering in fields and dark alleys and squeezing the life out of everyone it comes in contact with. The question of whether the hand is real or merely a manifestation of Lansdale's rage is never answered, even in the film's "shock" coda. At any rate, it's impossible to take the film seriously -- the crawling-hand effects are laughably shoddy for a major studio production, reflecting none of the skills of effects wizard Carlo Rambaldi, and Caine's sweaty, pop-eyed histrionics are too goofy to be convincing. On the plus side, James Horner's score is remarkably chilling, contributing a great deal to a few effective suspense scenes -- but it belongs in a better film than this. ~ Cavett Binion, Rovi

Given the off-the-wall premise in this sci-fi western -- that a motorcyclist rides his bike through a time warp right into the Wild West, into the middle of a gang of outlaws, and cannot figure out what happened -- the glitches and gaps in the plot fit right in with the spirit of the adventure. When the outlaw Reese (Peter Coyote) catches sight of the macho bike, he decides that several hundred horsepower are better than his one and is out to rustle the vehicle any way he can. Unfortunately, the bike does not run on high-octane hay -- an issue that bites the dust when pistol-packing Clair (Belinda Bauer) appears on the scene. ~ Eleanor Mannikka, Rovi

One of two S.E. Hinton novels Francis Ford Coppola directed in 1983, Rumble Fish is a stylized black-and-white film about the death of gang culture in a rough-and-tumble town full of stunted youths. The central character is the strutting Rusty James (Matt Dillon), a foul-mouthed lunkhead clad in sweaty tank tops, who passes his time at the billiards hall waiting for "something" to happen in his life. That something might be the return of his brother, known only as the Motorcycle Boy (Mickey Rourke), from exile in California. Charismatic and intelligent, the Motorcycle Boy once led numerous wide-eyed followers into battle, into the "rumbles" once commonplace in town. Rusty James wants to take over that role, but lacks the smarts necessary for leadership, nearly getting himself killed in an opening fight. The Motorcycle Boy stops the fight with equal parts efficiency and cool, and Rusty James seems delighted by his brother's return. But it quickly becomes clear that a local cop (William Smith) is still gunning for the Motorcycle Boy, waiting for him to slip up, even though the mysterious youth has developed a weary philosophy of life and a skeptical view of his former power. As the Motorcycle Boy seems more and more distant, lost in deaf and color-blind fugues, Rusty James gets into greater trouble, running afoul of his girlfriend (Diane Lane) and friends (Nicolas Cage, Christopher Penn, Vincent Spano), and seeming on the path to destruction. ~ Derek Armstrong, Rovi

Based on a character created by Robert E. Howard, this fast-paced, occasionally humorous sequel to Conan the Barbarian features the hero (Arnold Schwarzenegger) as he is commissioned by the evil queen Taramis (Sarah Douglas) to safely escort a teen princess (Olivia D'Abo) and her powerful bodyguard (Wilt Chamberlain) to a far away castle to retrieve the magic Horn of Dagon. Unknown to Conan, the queen plans to sacrifice the princess when she returns and inherit her kingdom after the bodyguard kills Conan. The queen's plans fail to take into consideration Conan's strength and cunning and the abilities of his sidekicks: the eccentric wizard Akiro (Mako), the wild woman Zula (Grace Jones), and the inept Malak (Tracey Walter). Together the hero and his allies must defeat both mortal and supernatural foes in this voyage to sword-and-sorcery land. ~ Eleanor Mannikka, Rovi

Amazingly, At Close Range was based on a true story. Bored teenager Sean Penn meets his prodigal father (Christopher Walken) for the first time in years. Though Penn is vaguely aware that his father is a criminal, he is nonetheless impressed by his dad's high life style and creature comforts. But Walken's veneer of charm is fragile indeed, and it becomes clear that he is willing to kill anyone--even his family--if they get in his way. When Walken rapes Penn's girl friend (Mary Stuart Masterson) to keep the boy from cooperating with the DA, it is only a warm-up for the horrors to come. The screenplay for At Close Range was written by Nicholas Kazan, the son of prominent film director Elia Kazan. ~ Hal Erickson, Rovi

Malone (Burt Reynolds) has been a "wet" operative for the CIA for many years, serving his country by performing assassinations. He is tired of his job and wants to get out of "the company" (as it is called) and live a normal life. He is looking along the Pacific Northwest for a place to settle down when his much-cherished classic Mustang breaks down outside the town of Comstock. He manages to get to a small gas station and is treated like family by a Vietnam veteran, who is the station's owner, and his daughter. They are suffering from the nefarious activities of a local bigwig (Cliff Robertson) to take over all the land in the city in a hare-brained development scheme. He soon runs afoul of the town sheriff, who is basically an employee of the developer, but eventually wins his respect. Meanwhile, the CIA is none too pleased to hear of Malone's intended retirement and send a succession of hit-men after him to ensure that he divulges none of their dirty secrets. Malone destroys the first two killers at some cost to his own well-being. The next assassin turns out to be a woman who is susceptible to his charms. Meanwhile, he has a thorough-going local scoundrel to put out of business. ~ Clarke Fountain, Rovi

In this first episode of a two-part story, David (Bruce Willis) finally discovers that Maddie (Cybill Shepherd) is pregnant. En route from LA to Chicago for a (hopeful) reunion with Maddie, David is sidetracked by convict felon "Mad Dog" Hundley (played by Hollywood producer Tony Bill), and before long our hero finds himself taking Mad Dog's place in a brutal prison farm. Meanwhile, David and Maddie's secretary Agnes (Allyce Beasley) comforts her new beau Bert Viola (Curtis Armstrong), who moans that the Moonlighting fans haven't "warmed up" to his character yet! ~ Hal Erickson, Rovi