Treat Williams Movies

Although many genre filmmakers have managed to blend horror and humor with great success, movies employing this formula often run the risk of both elements canceling each other out, resulting in a horror comedy that is neither scary nor funny. Alas, Dead Heat is a textbook example of this kind of failure. It details the weird misadventures of a pair of mismatched L.A. cops -- the straitlaced and by-the-book Roger Mortis (Treat Williams) and wisecracking loose cannon Doug Bigelow (muscle-headed Saturday Night Live alum Joe Piscopo). Their quest is to reach the heart of a sinister crime ring that employs indestructible undead henchmen. In a strange twist, their inept handling of the case results in both cops -- first Williams, then Piscopo -- being killed in action and subsequently reanimated in a secret laboratory managed by the barely seen Vincent Price (whose walk-on role is more entertaining than the combined performances of the two leads). The potential for "splatstick" comedy in the mode of Evil Dead 2 or Peter Jackson's Bad Taste is defeated by two major obstacles: first, the painfully unfunny mugging of Piscopo, who was unwisely allowed to ad-lib much of his performance; and second, the MPAA's trimming of several minutes from Steve Johnson's sensational makeup effects in order to avoid the dreaded X rating -- including a clever scene involving a zombie go-go girl played by Linnea Quigley. ~ Cavett Binion, All Movie Guide

Based on a best-selling book by Joseph Wambaugh, this is the story of the investigation of the murder of a Philadelphia school teacher and the search for her missing children, which eventually leads the police to two rather eccentric colleagues involved in the dead woman's life. ~ Tana Hobart, All Movie Guide

Based on a 1981 book by Leonard Michaels, focuses on a lawyer (Richard Jordan) who brings together a singularly dysfunctional group of men in a kind of venting, loquacious therapy session. All that talk brings out the worst in everyone. Cavanaugh (Roy Scheider) is a retired baseball star whose wife wants to leave him, Harold (Frank Langella) is an uptight lawyer, Terry (Treat Williams) is a self-centered doctor, Phillip (David Dukes) is the stereotypical, irritating college professor, and Solly (Harvey Keitel) is a blue-collar worker with a warm heart, the closest to normal among the lot. ~ Eleanor Mannikka, All Movie Guide

Though some viewers might be put off by its length, graphic violence, and absence of likable characters, Sergio Leone's final film is also a cinematic masterpiece. Spanning four decades, the film tells the story of David "Noodles" Aaronson (Robert De Niro) and his Jewish pals, chronicling their childhoods on New York's Lower East Side in the 1920s, through their gangster careers in the 1930s, and culminating in Noodles' 1968 return to New York from self-imposed exile, at which time he learns the truth about the fate of his friends and again confronts the nightmare of his past. The acting, the re-creation of the time period, the cinematography, and the music are all superb. However, even more important is Leone's ability to make the film work on so many different levels: it's both a criticism of gangster-film mythology and a continuation of the director's exploration of the issues of time and history. Strange as it may seem, the violence and gore in the first half of the film turn into a sad elegy about wasted lives and lost love. The film's strengths emerge only in its full 229-minute version -- the 139-minute and other edited versions don't make nearly the same impact. ~ Yuri German, All Movie Guide

Ann Margret looks too healthy to portray Blanche DuBois, the physically and mentally fragile Southern-belle protagonist of Tennessee Williams' A Streetcar Named Desire, but we forget this discrepancy five minutes into her marvelous performance. This TV-movie version of Streetcar costars Treat Williams as faded aristocrat Blanche's rude 'n' crude brother-in-law Stanley Kowalski; Williams is persuasive, though he tries so hard not to be Marlon Brando that he comes off as a bit mechanical. The 1984 Streetcar is more realistically staged than the near-impressionistic 1951 Vivien Leigh/Marlon Brando filmization. The storyline, concerning the battle of wills between the earthy, pragmatic Stanley and the delusional Blanche, remains the same in both films, as does the script's tendency to avoid the homosexual elements that were so important to Williams' original play. The newer film's photography is bathed in an ambler tint throughout, conveying both nostalgia for the era in which it is set (the late 1940s) and a visual literalization of Blanche's "yellowed with antiquity" former lifestyle. The 1984 Streetcar Named Desire is less a remake of the 1951 version than a companion piece--a praiseworthy alternate version of the same sturdy material. ~ Hal Erickson, All Movie Guide

Dempsey is the TV biopic of boxer William Harrison "Jack" Dempsey, a.k.a. Manassa Mauler. The film opens in Utah in 1911, where the teenage Dempsey works out in hopes of cracking the big time. Eight years later, Dempsey enters into his famous bout with reigning champ Jess Willard. From 1919 through 1926, Dempsey is heavyweight champion; he also carries on a wild and profligate private life, including an expensive marriage to--and even more expensive divorce from--silent film star Estelle Taylor (Victoria Tennant). Sally Kellerman co-stars as the first of Dempsey's five wives. Dempsey star Treat Williams was trained by Al Silvani, who worked with Stallone on the earliest Rocky epics. Scripted by Edward di Lorenzo, Dempsey premiered on September 28, 1983. ~ Hal Erickson, All Movie Guide

The mysterious 1971 hijacking of an airliner by a bold thief who parachuted into legend over the Pacific Northwest became fodder for this action comedy that's mostly speculative. Treat Williams stars as Jim Meade, an ambitious former Army man who devises a clever scheme to hold up an airliner for $200,000. Masquerading as "D.B. Cooper," he succeeds, and after landing safely in the deep woods, he seeks out his wife Hannah (Kathryn Harrold), whom he had left months earlier. They reconcile and head for the Mexican border. However, Jim soon has two people hot on his trail. Bob Gruen (Robert Duvall) was Jim's sergeant in the armed forces. Now an insurance investigator, Bob becomes convinced that only his talented former underling could have pulled off the job and sets out to capture him. At the same time, Jim's seedy former Army pal Remson (Paul Gleason) comes to the same conclusion and pursues the Meades, hoping to get a cut of the loot. Based on the book by J.D. Reed, the film failed to ignite interest at the box office, despite a publicity stunt by Universal Pictures offering a million dollars for information leading to the arrest of the real Cooper. ~ Karl Williams, All Movie Guide

In this romantic drama, Treat Williams plays Cletus, a rather unpleasant and morally shaky man desperate to keep his mitts on the one-million-dollar inheritance bequeathed to himself and his siblings. He improbably accepts a job as a social worker, then becomes emotionally involved with Jeorge (Gabriel Swann), a little boy torn away from his wrongly convicted and incarcerated mother., Cletus then sets about reuniting Jeorge with his mother. Along the way, he falls in love with Kay (Lisa Eichhorn. ~ Sandra Brennan, All Movie Guide

It's December of 1941, and the people of California are in varying states of unease, ranging from a sincere desire to defend the country to virtual blind panic in the wake of the Japanese attack on Pearl Harbor. Thus begin several story threads that comprise the "plot" of this strange period comedy, a sort of satirical disaster movie, from Steven Spielberg. The stories and story threads involve lusty young men, officers (Tim Matheson) and civilians (Bobby Di Cicco) alike, eager to bed the young ladies of their dreams; Wild Bill Kelso, a nutty fighter pilot (John Belushi) following what he thinks is a squadron of Japanese fighters along the California coast; a well-meaning but clumsy tank crew (including John Candy) led by straight-arrow, by-the-book Sgt. Tree (Dan Aykroyd), who doesn't recognize the thug (Treat Williams) in his command; and homeowner Ward Douglas (Ned Beatty), who is eager to do his part for the nation's defense and, despite the misgivings of his wife (Lorraine Gary), doesn't mind his front yard overlooking the ocean being chosen to house a 40 mm anti-aircraft gun. There is also a pair of grotesquely inept airplane spotters (Murray Hamilton, Eddie Deezen) who are doing their job from atop a ferris wheel at a beachfront amusement park; a paranoid army colonel (Warren Oates) positive that the Japanese are infiltrating from the hills; a big dance being held on behalf of servicemen, being attended by a lusty young woman of size (Wendie Jo Sperber) eager to land a man in uniform; and General Joseph "Vinegar Joe" Stillwell (Robert Stack), in charge of the defense of the West Coast, who can't seem to get anyone to listen to him when he says to keep calm. And, oh yes, there's also a real Japanese submarine that has gotten all the way to the California coast under the command of its captain (Toshiro Mifune) and a German officer observer (Christopher Lee), only to find itself without a working compass or usable maps. Its captain won't leave until the sub has attacked a militarily significant, honorable target, and the only one that anyone aboard ship knows of in California is Hollywood. By New Year's Eve, all of these characters are going to cross paths, directly or once-removed, in a comedy of errors and destruction strongly reminiscent of the finale to National Lampoon's Animal House (as well as several disaster movies from the same studio), but on a much larger and more impressive scale. ~ Bruce Eder, 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