Rutanya Alda Movies

In Rappin', Mario Van Peebles is John Hood, a con who when released from jail goes back to his neighborhood to find his girl shacked up with a nasty gang-leader named Duane (Charles Flohe). Duane is on the take with a corrupt contractor who plans to tear down Hood's neighborhood and he and his gang serve as ruffian rowdies who help evict the tenants. John Hood will not put up with this nonsense; he throws a community rap session and gets everybody aligned against the bad guys. His rappin' is so ratin' that he impresses a record company and wins his gal back. ~ All Movie Guide

This dull, routine slasher film focuses on a nighttime scavenger hunt sponsored by a sorority that takes a tragic turn when a figure in a bear costume with knives strapped to one "paw" begins slashing the women to death. Years ago, a student was killed by her mentally unbalanced boyfriend when she broke off their relationship. After his capture and trial, the young killer was sent to the local Weston Hill Sanitorium for the mentally insane -- and now he has escaped. Even though the sorority is rapidly losing members, the police are no closer to finding the killer than before they heard of the crimes, so Mac (Hal Holbrook), the original victim's father and head of campus security, goes after the serial murderer himself. Even a surprise ending cannot pull the rest of this film out of the horror doldrums. ~ Eleanor Mannikka, All Movie Guide

Delving into the horrific history of the infamous Long Island haunted house, this prequel to 1979's popular chiller The Amityville Horror is loosely based on the DeFeo murders but is at heart a straightforward horror-exploitation film with an Exorcist twist. When the violently dysfunctional Montelli family moves into the rustic abode (claimed to have been built on an Indian burial ground), the standard haunted-house clichés (bleeding walls, swarms of flies, bubbling black goop) give way to a more direct demonic attack on the eldest son -- who develops an unhealthy interest in his nubile younger sister, followed by a much more lethal attraction to dad's shotgun. In a desperate attempt to purge the evil, the local priest tries to perform an exorcism...with unexpected results. ~ Cavett Binion, All Movie Guide

In this thriller, a baby-sitter is terrorized by an anonymous telephone caller who turns out to be a particularly persistent serial killer. When a stranger calls to ask, "Have you checked the children lately?" teenaged sitter Jill Johnson (Carol Kane) is understandably spooked. After a series of increasingly creepy calls culminates in a request for "your blood...all over me," Jill learns from the police operator that the man is calling from inside the house. One narrow escape and two dead children later, the police capture British maniac Curt Duncan (Tony Beckley). Several years later, the killer escapes from a mental institution and plagues Tracy (Colleen Dewhurst), a hard-drinking New Yorker. Foiled by John Clifford (Charles Durning), the same cop who investigated the original case, Duncan sets his sights back on his original victim, Jill Johnson, who, now married and out to dinner with her husband, has left her own young children at home -- with a baby-sitter. When a Stranger Calls helped inspire Drew Barrymore's famous opening scene in Wes Craven's Scream. Kane, Durning, and director Fred Walton would return for 1993's TV-movie sequel, When a Stranger Calls Back. Beckley died a year after the original film's release. ~ Brian J. Dillard, All Movie Guide

Brian De Palma returns to the mind-blowing potential of telekinesis in the follow-up to his 1976 horror hit Carrie. While vacationing with his psychic son, Robin (Andrew Stevens), and close associate Childress (John Cassavetes), government agent Peter Sandza (Kirk Douglas) survives a terrorist attack, only to discover that it was staged by Childress so he could kidnap Robin for his own nefarious purposes. With the assistance of another psychic (William Finley) and Hester (Carrie Snodgress), an employee at the Paragon Institute for Psychic Research, Peter discovers a telekinetic Chicago high-school girl named Gillian (Amy Irving), who may be able to help him find Robin. Even though they have never met, Gillian can see Robin's memories and experiences telepathically, and she knows that he is in trouble. But Childress knows all about Gillian, too, and he is not about to let Peter's paternal quest get in the way of his plans for harnessing their psychic power. ~ Lucia Bozzola, All Movie Guide

Don Murray plays Lacy, a blatantly bigoted New York cop who finds that his rabid hatred forces him into a bloody rampage in order to save himself and his job in the derivative cop melodrama Deadly Hero. At one point in the film, Lacy rehearses a speech to be given to a cadre of right-wingers by intoning, "These are troubled times." This is certainly the case for Lacy, since this 18-year veteran of the NYPD has been demoted from detective to patrol car because of his liberal use of deadly force on nasty perpetrators. When Lacy, a lit fuse of seething anger and racial epithets, encounters nasty black mugger Rabbit (James Earl Jones), who is terrorizing young schoolteacher Sally (Diahn Williams) at knifepoint in her apartment, it doesn't take much for the cop to decide to put the thug on terror alert by shooting him. Is Sally grateful for blowing away the object of her torture? To Lacy's surprise, she instead testifies against him, accusing him of being a cold-blooded killer. Now Lacy has to figure out a way out of this high-shootin' mess. ~ Paul Brenner, All Movie Guide

"It's OK with me...." Applying his deconstructive eye to the "film noir" tradition, Robert Altman updated Raymond Chandler in his 1973 version of Chandler's novel, The Long Goodbye. Smart-aleck, cat-loving private eye Philip Marlowe (Elliott Gould) is certain that his friend Terry Lennox (Jim Bouton) isn't a wife-killer, even after the cops throw Marlowe in jail for not cooperating with their investigation into Lennox's subsequent disappearance. Once he gets out of jail, Marlowe starts to conduct his own search when he discovers that mysterious blonde Eileen Wade (Nina Van Pallandt), who hired him to find her alcoholic novelist husband Roger (Sterling Hayden), lives on the same Malibu street as the absent Lennox and his deceased spouse. As numerous variations on the title song play in unexpected places, Marlowe encounters a shady doctor (Henry Gibson), a bottle-wielding gangster (director Mark Rydell), and a guard aping Barbara Stanwyck (among other stars), before heading to Mexico to stumble onto the truth once and for all. ~ Lucia Bozzola, All Movie Guide

A former friend betrays a legendary outlaw in Sam Peckinpah's final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (Kris Kristofferson) ignores the advice of comrade-turned-lawman Pat Garrett (James Coburn) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (Bob Dylan) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like Slim Pickens and Katy Jurado, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier The Wild Bunch (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like The Wild Bunch, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, All Movie Guide