Joe Aubel Movies
- 1994
Cisco and his pal Pancho return in this made-for-cable nostalgic and comical reworking of the once popular western adventure series. ~ Sandra Brennan, All Movie Guide
- Starring:
- Jimmy Smits, Cheech Marin, (more)
Edward J. Olmos made his directorial bow with the powerhouse crime saga American Me. Olmos stars as street-gang leader Santana, who during his 18 years in Folsom Prison rules over all the drug-and-murder activities behind bars. Upon his release, Santana goes back to his old neighborhood, intending to lead a peaceful, crime-free life. But his old gang buddies force him back into his old habits. The omniprescene of the "Mexican Mafia" in the southwest is sufficient to make this film a daunting, demoralizing experience. Upon its release, American Me received a lot of press play due to the fact that Olmos shot his Folsom sequences on location, using actual prisoners as extras and bit players. ~ Hal Erickson, All Movie Guide
- Starring:
- Edward James Olmos, William Forsythe, (more)
It's advisable to know from the beginning of The Milagro Beanfield War that "milagro" is the Spanish word for "miracle". The scene is a rundown Hispanic community in New Mexico, bordering a posh housing development. In full control of the local water rights, the powers-that-be are secure in the belief that they'll be able to expand their development without resistance from the locals. No one can foresee that impoverished farmer Chick Vennera, during a burst of frustrated rage, will accidentally open a heretofore hidden sluice, thereby providing free water for his beanfield. At first, the locals are against Vennera's "insurrection", reasoning that the new housing development will provide jobs. But with the help of John Heard, a burned-out 60s activist who now runs the community newspaper, Vennera becomes the hero of the hour, the spiritual leader of an ever-growing "no development" movement. The evil land developers send their minions to intimidate or coerce Vennera; each time, however, he is seemingly protected from harm by Divine intervention. When Vennera is forced to shoot a trespasser on his land, it looks as though his luck has run out. Chased into the hills by private detective Christopher Walken, Vennera is once more rescued in the nick of time by what appears to be a miracle. And there are more wonders to behold before fadeout time! Whimsical yes, but thanks to its hand-picked ensemble cast (including Sonia Braga, Ruben Blades, James Gammon, Daniel Stern, Freddy Fender, M. Emmett Walsh and Melanie Griffith) the film remains totally credible throughout. Adapted by John Nichols and David Ward from Nichols' own novel, Milagro Beanfield War may be the most likeable "liberal-tract" film of the 1980s. Robert Redford's appropriately Capraesque direction is matched by Dave Grusin's vibrant Oscar-winning musical score. ~ Hal Erickson, All Movie Guide
- Starring:
- Rubén Blades, Richard Bradford, (more)
Star Trek IV: The Voyage Home (1986) concludes the story arc begun with Star Trek II: The Wrath of Khan (1982) and continued in Star Trek III: The Search for Spock (1984), but on a wholly new, different, and upbeat note. As the movie opens, months have elapsed since the events in Star Trek III; Admiral Kirk (William Shatner), McCoy (DeForest Kelley), Scott (James Doohan), Sulu (George Takei), Uhura (Nichelle Nichols), and Chekhov (Walter Koenig) are marooned in self-imposed exile on Vulcan, along with the resurrected and regenerated Spock (Leonard Nimoy, who also directed). While Spock tries to sort out the Vulcan and human halves of his resurrected psyche, the others prepare to return to Earth to face a brace of charges by the Klingon Empire and Star Fleet over events on Genesis. Taking off in their commandeered, jerry-rigged Klingon ship, they head to Earth, not knowing that a new crisis could destroy their home world -- a huge, immensely powerful alien probe has entered the galaxy and established a position near Earth, disabling every vehicle and installation in its path with its energy and communication output, and has ionized the entire atmosphere and started vaporizing the oceans, leaving the planet only hours to survive.
Spock determines that the probe is sending out signals to another intelligent terrestrial life form, humpbacked whales, which no longer exist. Using the gravity slingshot time-warp effect (established early in the original series) to travel back into Earth's 20th century, Kirk and company land in 1980s San Francisco to try and bring humpbacked whales to the 23rd century, to respond to the probe. Thus starts a surprisingly breezy, light-hearted, yet serious odyssey through the past (comparable to the best work of the original series), as the crew learns to deal with exact-change buses, angry drivers, punk-rock enthusiasts and other elements of '80s life, and Kirk tries to persuade a scientist (Catherine Hicks) of his good intentions for two whales in captivity. The screenplay, co-authored by Steve Meerson, Peter Krikes, Nicholas Meyer, and Harve Bennett (from a story by Nimoy and Bennett), is the cleverest and most sophisticated of all the Star Trek movie screenplays, recalling some of the elements of Meyer's earlier time-travel movie Time After Time and also anticipating the feel and tone of the series Star Trek: The Next Generation (which would be on the air not quite a year later). Nimoy's direction offers a combination of brisk pacing and a deep love of the characters and the actors, as well as a serious appreciation of the humorous aspects of the script, and Shatner gives his best performance of any of the movies. ~ Bruce Eder, All Movie Guide
Spock determines that the probe is sending out signals to another intelligent terrestrial life form, humpbacked whales, which no longer exist. Using the gravity slingshot time-warp effect (established early in the original series) to travel back into Earth's 20th century, Kirk and company land in 1980s San Francisco to try and bring humpbacked whales to the 23rd century, to respond to the probe. Thus starts a surprisingly breezy, light-hearted, yet serious odyssey through the past (comparable to the best work of the original series), as the crew learns to deal with exact-change buses, angry drivers, punk-rock enthusiasts and other elements of '80s life, and Kirk tries to persuade a scientist (Catherine Hicks) of his good intentions for two whales in captivity. The screenplay, co-authored by Steve Meerson, Peter Krikes, Nicholas Meyer, and Harve Bennett (from a story by Nimoy and Bennett), is the cleverest and most sophisticated of all the Star Trek movie screenplays, recalling some of the elements of Meyer's earlier time-travel movie Time After Time and also anticipating the feel and tone of the series Star Trek: The Next Generation (which would be on the air not quite a year later). Nimoy's direction offers a combination of brisk pacing and a deep love of the characters and the actors, as well as a serious appreciation of the humorous aspects of the script, and Shatner gives his best performance of any of the movies. ~ Bruce Eder, All Movie Guide
- Starring:
- William Shatner, Leonard Nimoy, (more)
Dan O'Bannon and Ronald Shusett, the screenwriters behind the highly successful Alien, turned their attention to earthbound terrors with this creepy horror tale. Dead and Buried focuses on Dan Gillis (James Farentino), a man who has recently returned to his hometown of Potter's Bluff to be its sheriff. His job becomes difficult when a series of strangers who visit Potter's Bluff begin dying in violent and mysterious ways. To make matters worse, his wife, Janet (Melody Anderson), has begun to act strangely, taking an odd interest in voodoo and acting like she might be having an affair. As the murder victims pile up, Gillis discovers that all his troubles have an occult origin that has to do with the town's elderly mortician, Dobbs (Jack Albertson, in his final feature film role). Gillis gets to the bottom of the mystery, only to discover that the truth is much worse than he imagined. Despite effective direction and solid acting, Dead and Buried got lost in the shuffle of the early '80s horror boom and failed to click with the movie-going public. However, it later gained an audience via home video and cable and remains a minor cult favorite today thanks to its singular blend of creepy atmosphere and gruesome shocks. ~ Donald Guarisco, All Movie Guide
- Starring:
- James Farentino, Melody Anderson, (more)
- 1981
This ABC TV movie is set in an experimental coed prison, presided over by progressive warden E.F. Crown (Shirley Jones). The wisdom of incarcerating men and women together is placed in doubt when white-collar criminal Roy Matson (Perry King) falls in love with hard-boiled, streetwise Jane Mount (Kate Jackson). In addition to Shirley Jones, Tony Curtis pulls special guest star duty as Flanagan, a two-bit hoodlum who aspires to "class." Inmates: A Love Story debuted on February 13, 1981. ~ Hal Erickson, All Movie Guide
- 1980
Clearly inspired by the theatrical feature Norma Rae, The $5.20 an Hour Dream stars Linda Lavin as a recently divorced woman supporting herself and her 12-year-old daughter. The highest-paying job at the Oregon engine factory where she works is on the assembly line--which has traditionally been an all-male operation. Bucking the system (and several stereotyped "chauvinist pigs"), Lavin eventually wins a place on the line, as do several of her female friends. As always, Linda Lavin (for whom this film was a pet project) looks far too self-reliant to ever be considered a "victim," so the climax of $5.20 an Hour Dream is a foregone conclusion. This made for TV movie received an award from the National Commission of Working Women. ~ Hal Erickson, All Movie Guide
- 1980
The made-for-TV Valentine Magic on Love Island was accurately dismissed by one reviewer as a "bubble headed brew of I Dream of Jeannie and a Club Med Vacation." Janis Paige stars as Madge, a benign sorceress who runs a lavish tropical resort with the help of her nephew Jimmy (Christopher Knight) and niece Cheryl (Dominique Dunne). Through mystical, magical means of her own (manifested in a bouquet of enchanted roses), Madge sets about to transform eight of her unattached hotel guests into four loving couples. Naturally, the supporting cast is top-heavy with celebrity guest stars, among them Adrienne Barbeau, who was seen in one of the two Fantasy Island pre-series specials, and Bill Daily, an alumnus of the aforementioned I Dream of Jeannie. The pilot for an unsold weekly series, Valentine Magic on Love Island first aired February 15, 1980, on NBC; in syndication, it was retitled simply Magic on Love Island, apparently to avoid the "holiday special" onus. ~ Hal Erickson, All Movie Guide
- 1979
One of two 1979 TV pilot films concerning the exploits of crimefighting movie stuntmen (the other was Stunts Unlimited), Stunt Seven was telecast May 30, 1979. Christopher Connelly heads the cast as ace stunter Hill Singleton. His six-person "team" includes Skip (Christopher Lloyd), Elena (Morgan Brittany), Wally (Bob Seagren), Kenny (Soon Teck Oh), Horatio (Brian Brodsky) and Dinah (Juanin Clay). This time around, "Stunt Seven" must rescue sexy movie star Elke Sommer from the clutches of a well-guarded modern pirate. The fact that the villain is played by Patrick MacNee of Avengers fame should tip one off that Stunt Seven was conceived with tongue firmly in cheek. ~ Hal Erickson, All Movie Guide
- 1979
Made quickly on videotape to capitalize on celebrated kidnap victim Patty Hearst's recent rescue, Ordeal of Patty Hearst stars Lisa Eilbacher as the beleagured newspaper heiress. Hearst's secure existence is shattered when she is seized by a tiny terrorist group calling itself the Symbionese Liberation Army. As the abductors deliver their ransom demands to Hearst's publisher father, they brainwash her into obedience to their cause. Unlike the much-later theatrical feature Patty Hearst, the made-for-TV Ordeal is told from the point of view of the FBI agent (Dennis Weaver) assigned to the case; in fact, more time is spent on the private life of the agent (who is on the eve of his retirement) than on Ms. Hearst herself. Ordeal of Patty Hearst works within its limited parameters, though it can hardly be considered the last word on the subject. ~ Hal Erickson, All Movie Guide
