John Ashley Movies

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, All Movie Guide

Professor Bob Cummings is an anthropologist who uses a telescope to study the mating habits of teenagers, namely Frankie Avalon and Annette Funicello. However, Cummings' secretary Dorothy Malone wishes that his boss would get his mind off bikinis and surfers. Meanwhile trouble brews when Eric Von Zipper (Harvey Lembeck) tries to abduct Annette. Watch for cameo appearances by Vincent Price and Elizabeth Montgomery. ~ Hal Erickson, All Movie Guide

Roger Corman's New World Pictures distributed this seedy Filipino monster mess about a lecherous American soldier (John Ashley, no stranger to Filipino horror films) who saves his miserable hide during World War II by selling his soul to Satan. Everything works out fine until some years later, when Ashley tries to back out on the arrangement and is subsequently slapped with a werewolf-type curse that has him sprouting hair in unwanted places and stalking villagers by night. The werewolf attacks are remarkably gory -- throats are ripped, faces pulverized, and intestines spilled -- but still manage to be boring. No special method for exterminating the supposedly indestructible beast is devised; apparently he gets tired of being shot repeatedly by the police and just keels over -- as does the film itself. ~ Cavett Binion, All Movie Guide

The Beach Party gang is back in this third episode. This time out, the gang is visited by the handsome British pop star Potato Bug (Frankie Avalon in a dual role) who has come to CA for a little r&r. When Potato Bug sees the perky Dee Dee (Annette Funicello), he falls head over heels. This doesn't set well with her boyfriend, Frankie. Later the kids all join forces to keep aged developer Harvey Huntington Honeywagon from buying their beach and using it to build a senior citizen's resort. Honeywagon is assisted by Brandoesque biker Eric Von Zipper while the kids are helped out by the adolescent supporter Big Drag. Songs include: "Bikini Drag", "Love's a Secret Weapon", and "Because You're You". Special guest artists include Little Stevie Wonder, the Exciters and the Pyramids. Boris Karloff has an un-credited cameo. ~ Sandra Brennan, All Movie Guide

Coach of the Year is the pilot film for a potential Robert Conrad TV series. Conrad plays Jim Brandon, formerly a star athlete, now a wheelchair-bound Vietnam vet. The embittered, self-involved Brandon is hired to coach a team of teenagers at a correctional facility. Once he's "reached" these so-called incorrigibles, Brandon begins to see his own life in a different light. The film was co-produced by John Ashley of Filipino horror-flick fame. Originally titled The Coach, then 4 Down Behind Bars, Coach of the Year debuted December 20, 1980. ~ Hal Erickson, All Movie Guide

Frankenstein's Daughter, a low-budget American horror movie badly directed by Richard E. Cunha, is another in a series of poorly made adaptations of Mary Shelley's classic horror novel. Here, the original Dr. Frankenstein's grandson, Oliver Frankenstein (Donald Murphy), now living in Los Angeles, creates a female version of the Monster from sweet teenage girl, Trudy (Sandra Knight) who then goes on a killing rampage. This thriller, with poor production values and bad sets, has some intentional humor, but little real horror. Also released as She Monster of the Night, Frankenstein's Daughter was featured in It Came from Hollywood, an amusing and loving tribute to horror films and their makers. Also, lovers of trivia should note that Sandra Knight, who plays Trudy, would later become the wife of actor Jack Nicholson. ~ Linda Rasmussen, All Movie Guide

When insecure rich-type Stevens (John Ashley) decides to impress his fellow students, he does so by establishing a crime empire to take command of his high school. ~ Jason Ankeny, All Movie Guide

Like many American International films of its era, How to Make a Monster was sold to distributors on the basis of its title alone: only after theatrical play dates had been established did anyone get around to writing a script! Robert H. Harris plays Pete Drummond, who according to the script has been chief makeup man at American-International for 25 years, or approximately 20 years before the studio was actually established. When the studio is sold, Pete is brusquely informed that neither he nor his monster creations -- notably the Teenage Werewolf and Teenage Frankenstein -- will be required any longer, inasmuch as American International is going to concentrate on musicals from now on. Angered and humiliated, Pete takes revenge on the callous studio heads by hypnotizing a couple of actors (Gary Clarke and Gary Conway) into believing that they're genuine monsters. Under Pete's control, the two thespians begin committing murders left and right, wreaking havoc throughout the American International lot. ~ Hal Erickson, All Movie Guide

Having been burned by compromises to censors on his earlier films Cat on a Hot Tin Roof and Sweet Bird of Youth, Paul Newman decided to star in as uncompromising a property as he could find. That property was Hud, inspired by a portion of Larry McMurtry's novel, Horseman Pass By. Hud Bannon (Newman) is a young Texas rancher who lives with his cattleman father Homer (Melvyn Douglas) and his hero-worshipping nephew Lon (Brandon DeWilde). Hud is an amoral, cold-hearted creature; his father, who holds Hud responsible for the death of his other son, tries to imbue Lon with a sense of decency and responsibility to others, but Lon is devoted to Hud and isn't inclined to listen. When hoof and mouth disease shows up in one of the elder Bannon's cows, Hud is all for selling the herd before the government inspectors find out. But Homer orders the cattle destroyed (the film's most harrowing sequence), driving an even deeper wedge between himself and Hud. Finally, Hud steps over the line by attempting to rape Alma (Patricia Neal), the earthy but warm-hearted housekeeper. Paul Newman was so repellantly brilliant as an unregenerate heel that his Oscar nomination for Hud was a foregone conclusion. Although Newman lost the Oscar to Sidney Poitier in Lilies of the Field, Oscars did go to Neal for Best Actress, Douglas for Best Supporting Actor, and cinematographer James Wong Howe. ~ Hal Erickson, All Movie Guide

The Beach Party Gang meets a coterie of muscle-men who try to take over their spot on the beach in Muscle Beach Party. Surfing sensations Frankie (Frankie Avalon) and Dee Dee (Annette Funicello) have their security threatened when Flex Martian (Rock Stevens) and a collection of well-oiled weight-lifters invade their turf. While tensions heat up on the beach, wealthy contessa Julie (Luciana Paluzzi) arranges for her business manager S.Z. Matts (Buddy Hackett) to entice Flex into becoming the latest in her long line of boyfriends. Julie's feelings change when she meets Frankie, who, honored by Julie's amorous attentions, returns her affections, causing a rift not only between Dee Dee and himself, but a further collapse in relations between the surfers and the body-builders, which is assuaged only by the music of Dick Dale and the Del Tones and Little Stevie Wonder. ~ Paul Brenner, All Movie Guide

In this actioner, three courageous female revolutionaries on a South American island grab their rifles and begin searching for a clever bandit. ~ Sandra Brennan, All Movie Guide