Joe Warfield Movies

The erotic thriller French Silk stars Susan Lucci as the owner of a very successful lingerie company. An influential television preacher who has spoken out against her and her company dies. The lead detective (Lee Horsley) into the death believes she is the number one suspect, but he also begins a sexual affair with her. Soon she begins to get him to act in ways that may be detrimental to his own investigation. ~ Perry Seibert, All Movie Guide

Action genre veteran David A. Prior wrote and directed this thriller that unfolds like a B-movie version of Midnight Run (1988). David Keith stars as Mace, a former cop now working as a bounty hunter or "skip tracer." When his daughter is murdered, the mayor (Charles Napier) of a small Southern town hires Mace to find the killer, who's suspected to be Mitch (Robert Hays), the victim's date from the evening of her death. Mace tracks down his target but when Mitch is nearly killed in an explosion, it becomes clear that he's innocent and the real killer is trying to wipe him out. After being ambushed and nearly killed, Mace and Mitch are joined by Sarah (Pamela Anderson), a hooker who witnessed the attack. As the three of them try to stay alive, they uncover a political conspiracy involving the deputy mayor (Stacy Keach) and the corrupt police force that Mace once quit in disgust, led by a crooked detective (Leo Rossi). Also known as Skip-Tracer. ~ Karl Williams, All Movie Guide

Richard Dreyfuss plays Moses Wine, an ex-Sixties radical who pays the bills as a private eye. Wine is hired to stem a smear campaign against a popular political candidate. Gradually the plot thickens into a murder case, involving a hippie leader whose values, like Wine's, have been severely compromised over the years - and who plans to blow up a major LA freeway as a protest. Susan Anspach provides a great deal of dramatic (and sexual) tension as Wine's boss. Among the minor players are future stars Mandy Patinkin and F. Murray Abraham. The Big Fix was adapted by Roger L. Simon from his own novel. ~ Hal Erickson, All Movie Guide

A few adolescents attempt to put together a low-budget film and end up with less than they had hoped for. ~ Kristie Hassen, All Movie Guide

The third film from director Nicolas Gessner, this espionage drama is a filmed adaptation of the novel You Have Yourself a Deal by James Hadley Chase. Mireille Darc stars as Christine, a mysterious blonde suffering from amnesia who becomes the focus of international attention as rival spies compete to discover her identity. Christine carries with her a giant, priceless pearl and could be the lover of a Chinese nuclear scientist and know many important secrets. To learn those secrets, CIA man Douglas (Edward G. Robinson) hires Gandler (Claudio Brook), an out-of-work actor, to pretend he is her husband and attempt to uncover the truth. But along the way, Gandler can't help but fall in love with her, throwing an unexpected wrench in the gears. ~ Matthew Tobey, All Movie Guide

Union Station is a tense crime thriller in the tradition of The Naked City that unfolds in Los Angeles. William Holden plays railroad worker Lt. William Calhoun. Calhoun goes into action when Lorna Murchison (Allene Roberts), the sightless daughter of millionaire Henry Murchison (Herbert Heyes), is kidnapped by ruthless Joe Beacon (Lyle Bettger). The abduction is witnessed by Joyce Willecombe (Nancy Olson), Murchison's secretary. Using the handful of clues provided by Joyce, Calhoun and his associate, Inspector Donnelly (Barry Fitzgerald) do their best to second-guess the kidnapper. The film's most harrowing scene finds Beacon abandoning the blind and helpless Lorna in a deserted car barn in the deepest recesses of the titular station. Jan Sterling co-stars as Marge, Beacon's conscience-stricken moll. Former cinematographer Rudolph Mate does a nice, neat job as director, seamlessly matching location shots with studio mockups. ~ Hal Erickson, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide