L.B. Abbott Movies

Killer bees migrate to the United States from Africa via South America in this disaster film produced and directed by the genre's chief architect, Irwin Allen, and written by Stirling Silliphant, scribe of The Poseidon Adventure. Haughty entomologist Brad Crane (Michael Caine) shows up at a secret military base full of dead soldiers, shocking the attendant General Slater (Richard Widmark). Crane announces that the soldiers are the victims of killer bees with amazingly potent venom; he's been tracking huge swarms of the things and fears they'll kill millions before they're through. Eventually, the president asks Crane to lead the battle against the killer insects and he assembles a team of crack scientists. Meanwhile, the bees overpower a family picnic in nearby Marysville; only the son, Paul (Christian Juttner), escapes with his life. Crane and military physician Helena Anderson (Katherine Ross) head to Marysville to warn the populace about the impending danger. Among the citizens in the direct path of the bees are schoolmarm Maureen Schuster (Olivia de Havilland) and her competing suitors, Felix (Ben Johnson) and Clarence (Fred MacMurray). Eventually, the bees stage a massacre in Marysville and then set their sights on Houston. Neither pesticides, firebombing, nor the heroic sacrifice of scientist Dr. Krim (Henry Fonda) seems to offer a solution for the impending disaster. Universally reviled by critics, The Swarm failed to continue Allen's winning streak at the box office. Caine would re-team with his director the following year for Beyond the Poseidon Adventure. ~ Brian J. Dillard, All Movie Guide

Gordon M. Douglas' kitsch masterpiece starts as Evel Knievel (as himself) sneaks into an orphanage at midnight to distribute Evel Knievel action figures. Miraculously, one little boy casts aside his crutches and begins to walk. The plot kicks in as Evel, heading to a performance in Mexico, finds himself waylaid by nefarious drug dealers, headed by Stanley Millard (Leslie Nielsen), who plans to murder Evel in Mexico and then ship the body back across the border, loaded with drugs. Gene Kelly, of all people, is on hand as Will Atkins, Evel's sloppy-drunk sidekick. ~ Paul Brenner, All Movie Guide

In a hermetically sealed, post-apocalyptic urban environment several centuries hence, Logan 5 (Michael York) and his friend Francis 7 (Richard Jordan) lead unquestioning lives of hedonism. Entertainment comes in the form of casual sexual liaisons and gladiatorial games in which those who do not wish to undergo euthanasia at the age of 30 vie for the illusory chance of continued life. As "sandmen," Logan and Francis are charged with tracking down and killing "runners" -- those citizens who will submit to neither "renewal" (a peaceful death) nor "carousel" (a gladiatorial battle) when their time comes. When Logan grows intrigued by a beautiful young woman, Jessica 6 (Jenny Agutter), who plans to become a runner, he is forced to question the fundamental principles of his society. And when his superiors force him to pose as a runner himself to weed out Jessica's guerilla underground, Logan finds himself fleeing the city in search of a mythical place called Sanctuary where people are allowed to live out their natural spans. ~ Brian J. Dillard, All Movie Guide

Hal Bartlett co-wrote and directed this film curiosity, based on Richard Bach's best-selling fable, featuring an overbearing music score by Neil Diamond. The story begins as a flock of seagulls are pecking at the garbage left by a boat that has dumped a bunch of fish heads in the surf. One of the seagulls, Jonathan (voice of James Franciscus), would rather leave his life of garbage-picking and fly high in the sky to see other parts of the earth. Jonathan leaves the flock and flies around the world. He travels so far that he reaches an aviary heaven, where he meets Maureen Seagull (voice of Juliet Mills). Maureen introduces Jonathan to new experiences, and Jonathan returns to the flock to tell them the news. The other seagulls scorn him, but then they take notice when he heals a seagull that has died. Then the entire flock greets him as "the Son of the Great Gull." ~ Paul Brenner, All Movie Guide

Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood's 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. "Hot Lips" Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O'Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless's momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman's sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman's films quickly became known. Although the on-screen war was not Vietnam, MASH's satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman's nose-thumbing attitude towards all kinds of authority and embraced the film's frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood's politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman's systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood "New Wave" had arrived. ~ Lucia Bozzola, All Movie Guide

Gore Vidal's best-selling satiric novel gets an inarguably unique screen treatment in this off-center psycho-sexual farce. Fussy film buff Myron Breckinridge (Rex Reed) goes to Europe and gets a sex-change operation from a slovenly chain-smoking doctor (John Carradine) and returns to the United States as the glamorous and willful Myra Breckinridge (Raquel Welch). Myra appears at the door of former cowboy star-turned-acting school entrepreneur Buck Loner (John Huston), who also happened to be Myron's uncle; Myra insists she's Myron's widow and demands her fair share of Loner's inheritance to her late husband. Loner, suspicious of the appearance of Myron's bride, tries to find a way out of giving her any of his money, while giving Myra a job in his acting school to keep her busy. Myra's new career allows her to make the acquaintance of Leticia Van Allen (Mae West), an aging sexpot and talent agent who represents "leading men only." Through Leticia, Myra meets alpha-male aspiring star Rusty Godowsky (Roger Herren) and his naïve girlfriend Mary Ann Pringle (Farrah Fawcett); as part of her own bid to ferment sexual anarchy, Myra attempts to introduce Mary Ann to the pleasures of lesbianism, while forcibly expanding Rusty's sexual boundaries. In the midst of the action, director Michael Sarne uses clips from dozens of vintage Hollywood films of the 1930s and '40s as a comic counterpoint to the story. Both Gore Vidal and Rex Reed expressed their dissatisfaction with Myra Breckinridge after the film hit theaters, though Vidal has also claimed not have seen the finished product; the film has gone on to develop a devoted cult following, despite the fact the film's only authorized video release has been out of print since the late '70s. ~ Mark Deming, All Movie Guide

Two star-crossed losers are looking for diversion but find love instead in this romantic drama. Fran Walker (Elizabeth Taylor) is a veteran Las Vegas showgirl who is also the kept woman of Lockwood (Charles Braswell), a San Francisco businessman who is happy to pay her rent and keep her in designer clothes but isn't willing to divorce his wife in order to make a long-term commitment with her. Fran falls into a fling with Joe Grady (Warren Beatty), a piano player who works with lounge comic Tony (Hank Henry) when he isn't succumbing to his addiction to gambling. Fran and Joe agree at the start that their relationship is to be about sex and nothing more, but before long, the two have fallen in love despite themselves. Though set in Las Vegas, most of The Only Game in Town was shot in Paris at the request of Taylor, whose then-husband, Richard Burton, was working in France at the time; this helped boost the budget to 11 million dollars, while the film earned less than a fifth of that figure at the box office. ~ Mark Deming, All Movie Guide

John Cunningham (James Coburn) is a cold-blooded assassin sent by his superior Ramsey (Burgess Meredith) to murder three people in Europe. He takes off for Spain where he meets a foursome of jet-setting socialites. Sheila (Lee Remick) is a wealthy divorcee who falls for John. Alexi (Patrick Magee) is a former Nazi weasel who has eyes for Sheila. Adrianne (Lilli Palmer) is a social butterfly who plays Cupid for John and Sheila. Sterling Hayden and Claude Dauphin also star in this romantic story of how love can soften a man's stone-cold heart. ~ Dan Pavlides, All Movie Guide

Lyedecker (Jim Brown) is the Arizona lawman who travels to Mexico in search of Yaqui Joe (Burt Reynolds). Joe has made an illegal withdrawal of $6,000 from the band in Phoenix to help finance his tribes's uprising against the Mexican government. Sarita (Raquel Welch) is the local woman who is friendly towards the Indian leaders. Both men are tracked by General Verdugo (Fernando Lamas), the career-minded military man who realizes a victory could boost his station in high-society and politics. Also on hand is the American railroad agent Grimes (Dan O'Herlihy). The battle ensues between the Indians and the government troops as Lyedecker and Joe form a temporary alliance to survive. They are captured by the troops, but the Indians instead of the calvary come to the rescue in this routine western taken from a novel by Robert MacLeod. ~ Dan Pavlides, All Movie Guide

Twenty-seven-year-old Barbra Streisand seemed an inappropriate choice for middle-aged, match-making widow Dolly Levi, but her energy carries her right through the role and dominates the lackluster movie around her. The plot, drawn from Thornton Wilder's The Matchmaker (itself based on a 19th-century British farce), is set in motion when Yonkers feed store clerk Cornelius Hackl (Michael Crawford) celebrates his promotion by taking his pal Barnaby Tucker (Danny Lockin) to New York City for a "corking good time." But Cornelius and Barnaby can't avoid crossing paths with their boss Horace Vandergelder (Walter Matthau), who'd give them Holy Ned if he saw them in a fancy restaurant with two fancy girls instead of tending the store. Mr. Vandergelder himself is the object of Dolly's affections, though she pretends to have only a professional interest in the widowed merchant, going through the motions of finding him a new wife when in fact she'd like to be the lucky bride herself. The film's musical set pieces include a show-stopping rendition of the title number, with Louis Armstrong more or less playing himself. The biggest number is "Before the Parade Passes By," in which thousands of costumed marchers and atmosphere extras cavort before a huge replica of a New York City thoroughfare in the 1890s (actually the main entrance of the 20th Century-Fox studio, with period facades adorning the office buildings). An artifact of an era in which Broadway musicals were a significant part of popular culture, Hello Dolly seemed bizarrely irrelevant in the social turmoil of the late 1960s, and it became one of the late-1960s big-budget failures that led Hollywood studios toward a different kind of filmmaking in the 1970s. ~ Hal Erickson, All Movie Guide

Tony Rome (Frank Sinatra) is a Miami private detective who discovers a lady in cement while scuba diving. Rome is hired by Gronsky (Dan Blocker) to find out if the woman is his missing girlfriend. He interviews Kit Forrest (Raquel Welch), a boozy socialite who had seen the woman at a drunken party earlier. Tony is warned by Kit's neighbor Al Munger (Martin Gabel) to stay away from Kit. Tony discovers Al is a former rackets boss and suspects there is more to the story than Kit and Al are letting on. With the help of local Lieutenant Santini (Richard Conti), Tony contacts artist Arnie Sherwin (Richard Deacon), who helps identify the dead woman as Gronsky's girlfriend. The plot thickens when Gronsky admits that he and Al's son Paul (Steve Peck) were dipping into Al's fund of ill-gotten money. Tony eliminates Kit as a suspect as he tries to solve the crime in this murder mystery. ~ Dan Pavlides, All Movie Guide

This light romantic comedy finds Victoria (Anne Jackson) the 34-year-old wife of public-relations man Tom Layton (Patrick O'Neal). Tom's biggest client is a big movie star (Walter Matthau), and Tom drops everything to insure that, while in New York, his client is surrounded by beautiful women, even at $100 a pop. Victoria wonders if she has lost her youthful beauty, and when a delivery boy fails to notice Victoria is naked in her kitchen, she is determined to find out if men still find her appealing. She travels to the hotel of the movie star, where she is assured by the virile star that she indeed still has what it takes. ~ Dan Pavlides, All Movie Guide