Richard Benjamin Movies

In this comedy, Harold Weiss (Richard Benjamin) is a professor at the time of the Cuban Missile Crisis in 1962, when a nuclear holocaust seemed imminent. Rather than sit around waiting to die, he decides to drive from Long Island to Los Angeles, taking in such sights as Las Vegas along the way. As he travels, he assumes different momentary identities which he uses--to humorous effect--in his interactions with the people he meets. This story is captured in a number of short sketch-like episodes, as the professor acts out his fantasies with increasing abandon. ~ Clarke Fountain, Rovi

Director Mike Nichols and writer-actor Buck Henry followed their enormous hit The Graduate (1967) with this timely adaptation of Joseph Heller's satiric antiwar novel. Haunted by the death of a young gunner, all-too-sane Capt. Yossarian (Alan Arkin) wants out of the rest of his WW II bombing missions, but publicity-obsessed commander Colonel Cathcart (Martin Balsam) and his yes man, Colonel Korn (Henry), keep raising the number of missions that Yossarian and his comrades are required to fly. After Doc Daneeka (Jack Gilford) tells Yossarian that he cannot declare him insane if Yossarian knows that it's insane to keep flying, Yossarian tries to play crazy by, among other things, showing up nude in front of despotic General Dreedle (Orson Welles). As all of Yossarian's initially even-keeled friends, such as Nately (Art Garfunkel) and Dobbs (Martin Sheen), genuinely lose their heads, and the troop's supplies are bartered away for profit by the ultra-entrepreneurial Milo Minderbinder (Jon Voight), Yossarian realizes that the whole system has lost it, and he can either play along or jump ship. Though not about Vietnam, Catch-22's ludicrous military machinations directly evoked its contemporary context in the Vietnam era. Cathcart and Dreedle care more about the appearance of power than about victory, and Milo cares for money above all, as the complex narrative structure of Yossarian's flashbacks renders the escalating events appropriately surreal. Confident that the combination of a hot director and a popular, culturally relevant novel would spell blockbuster, Paramount spent a great deal of money on Catch-22, but it wound up getting trumped by another 1970 antiwar farce: Robert Altman's MASH. With audiences opting for Altman's casual Korean War iconoclasm over Nichols' more polished symbolism, the highly anticipated Catch-22 flopped, although the New York Film Critics Circle did acknowledge Arkin and Nichols. Despite this reception, Catch-22's ensemble cast and pungent sensibility effectively underline the insanity of war, Vietnam and otherwise. ~ Lucia Bozzola, Rovi

The funny side of sports fandom provides the common element for two stories in this made-for-cable anthology feature. In the first segment, based on a short story by Don Marquis, a golfer (Bob Newhart) looks like he's about to break 100 for the first time, but his partner (Kelsey Grammer) keeps insisting upon following every rule in the book, much to his friend's annoyance. The second story is based on 1968's real-life "Heidi Bowl" incident, in which NBC-TV's broadcast of a hard-fought game between the New York Jets and the Oakland Raiders, which seemed likely to determine the AFL championship, was cut off --with 65 seconds left to play and the score at 32-29 -- in order to begin a scheduled showing of a made-for-TV movie based on the classic children's story Heidi. Eugene Levy plays a network control room supervisor, Ellie Harvie appears as a NBC switchboard operator trying to handle the sudden influx of angry calls, Gary Basaraba plays her husband, who is watching the game at home with friends, and John Kapelos is a bookie with a lot of money riding on the game. Fox-TV sports commentator James Brown hosts the two-part film, which was produced for the Showtime premium cable network. ~ Mark Deming, Rovi

After befriending a kind-hearted prostitute, a 12-year-old boy attempts to set her up with his widowed father in this family comedy. Young Frank Wheeler (Michael Patrick Carter) first meets working girl V (Melanie Griffith) when he and two friends pool their money to buy a glimpse of a naked woman. V does the job and agrees to drive Frank home; along the way, he becomes convinced that this nice call girl would be the perfect new wife for his dad (Ed Harris). V happens to be on the run from a group of evil gangsters, so when he invites her to stay at their house in the suburbs, she readily agrees. Masquerading as a math tutor, she strikes a chord with Mr. Wheeler, but this budding romance is soon threatened by the return of V's past. Despite the potentially off-color premise, Milk Money aims to be innocuous family fare, with juvenile jokes mixing with unthreatening romance. ~ Judd Blaise, Rovi

There's no point in recounting the many production problems and personal hostilities which plagued the filming of Mermaids: the end result is all that matters. Set in the 1960s, the film details the relationship between an unorthodox, unmarried vagabond mother (Cher), and her two daughters. The 15-year-old (Winona Ryder), continually embarrassed by her flamboyant mother, wants to be the world's greatest Catholic; the nine-year-old (Christina Ricci) would be satisfied with becoming the world's champion swimmer. Moving with her family to New England, the older daughter falls in love from afar with the groundskeeper (Michael Schoeffling) from a nearby convent, while Mom takes up with a lonely salesman (Bob Hoskins). Mermaids is perceptively adapted from the warmly comic novel by Patty Dann. ~ Hal Erickson, Rovi

Given a grim diagnosis during a routine doctor's checkup, a man who once had it all finds his attempt to disappear into a working-class suburb and spend his remaining days subsisting on vodka and junk food hopelessly disrupted when he falls for the beautiful divorcée next door and a busybody neighbor notices a miraculous stain on his stucco wall. Henry Poole (Luke Wilson) had a comfortable life and a beautiful fiancée. But just when it seemed that the future couldn't look any brighter for Henry, a visit to the doctor's office casts a dark cloud over his sunny outlook. Shattered, Henry wants nothing more in life than to simply vanish into his surroundings, and what better way to accomplish that feat than to purchase a cookie-cutter house in a working-class suburb and spend his final days awaiting the inevitable in peaceful solitude. Unfortunately for Henry, his new neighbors aren't about to let the handsome neighborhood newcomer spend his days sulking. The first to stop by and welcome Henry to his new home is local yenta Esperanza (Adriana Barraza), who comes knocking on his door with a fresh plate of homemade tamales and laundry list of questions.

Later, after taking notice of sad-eyed divorcée Dawn (Radha Mitchell) and her taciturn eight-year-old daughter, Millie (Morgan Lily), who hasn't spoken a work since her father left, Henry finds his self-imposed exile shattered when Esperanza notices a stain on his stucco wall that seems to possess miraculous powers. Before Henry can say "Hail Mary," Esperanza is leading pilgrimages to the "holy site" in his backyard and inviting Father Salizar (George Lopez) to give his blessings to the sacrosanct blemish. As skeptical as Henry may be about the healing powers of the curious apparition, however, his growing friendship with young Millie not only brings him closer to Dawn, but also proves to him that there's no escaping the power of hope. Cheryl Hines, Richard Benjamin, and Jessica Walter co-star in a wry existential comedy drama penned by first-time feature film screenwriter Albert Torres, and directed by Mark Pellington (Arlington Road, The Mothman Prophecies). ~ Jason Buchanan, Rovi

Jeff Grant (River Phoenix) is a San Diego teen who discovers his father Richard (Richard Jenkins) and mother Elizabeth Grant) are KGB agents. When he applies to the Air Force Academy, a routine FBI check leads to the shocking news. Soon the suburb of Fountain Grove becomes the focus of international agents and espionage. FBI agent Roy Parmenter (Sidney Poitier) helps Jeff absorb the shock and he battles KGB agent Konstantin Karpov (Richard Bradford) in a race to capture the Soviet agents. The excellent performances from Poitier and Phoenix are the highlight of this feature. ~ Dan Pavlides, Rovi

This standard, tongue-in-cheek, gangsters and good guys saga is carried on the star power and screen presence of Clint Eastwood as Lt. Speer, a taciturn, tough, play-it-by-the-book cop, and on Burt Reynolds as Mike Murphy, Speer's old friend in the force, now turned private eye but still a captivating rogue at heart. With a sub-text of playing their well-known screen personas off each other, Eastwood and Reynolds provide more than a surface interpretation of the characters that made them famous. After Murphy's partner is murdered, he focuses on pitting one mob boss against another in an attempt to have both mobsters kill each other. In the meantime, Lt. Speer -- who has never approved of Murphy's private detective business -- does not really know if Murphy is for or against the two top gangsters. Set in the era of speakeasies and Prohibition, an added layer of "film noir" can be discerned under the complex plot, verbal repartée, and episodes of toned-down violence (a kind of parody in themselves). Although this may not be the best film either star has made, it is still interesting to see them together on screen. ~ Eleanor Mannikka, Rovi

In Richard Benjamin's directorial debut, Mark Linn-Baker stars as Benjy Stone, junior writer on the popular 1950s TV comedy/variety series The King Kaiser Show. Kaiser (Joseph Bologna)'s guest star this week is Hollywood matinee idol Alan Swann (Peter O'Toole), a swashbuckling Errol Flynn type, right down to his indiscriminate womanizing and fondness for mass quantities of booze. Stone is assigned to keep the actor out of trouble during rehearsals and deliver him sober to the performance. Becoming fast friends, Stone and Swann alternate baby-sitting responsibilities: Swann takes the young writer to the Stork Club and on an early-morning jaunt through Central Park with a "borrowed" police horse, while Stone takes Swann to his home, where the star is fawned over by Benji's mom (Lainie Kazan) and asked embarrassing questions about his love life by Uncle Morty (Lou Jacobi). Despite a few anxious moments, all goes well until Swann, panicking at the discovery that King Kaiser's show will be telecast live and not on film, walks out just before airtime. Shamed by Benjy into honoring his committment, Swann makes a spectacular, timber-smashing entrance, saving the show and rescuing Kaiser from being rubbed out by a gangster (Cameron Mitchell) whom the comedian has offended. The film co-stars Jessica Harper, Gloria Stuart and Selma Diamond, a real-life comedy writer for Sid Caesar. My Favorite Year was converted into an unsuccessful Broadway musical in the early 1990s. ~ Hal Erickson, Rovi

Jane Curtin and Susan Saint James share star-billing with Jessica Lange in this uninspired comedy about three women who need a cash infusion. (Curtin and Saint James would later co-star in the popular sitcom Kate and Allie.) Jane (Saint James) is divorced and financially pressed to raise her children in the manner to which they were accustomed. Elaine's (Curtin) husband left with all their assets except for the house and car, and Louise's (Lange) antique store is going to go bust unless she gets rid of the red ink. After the three women share their angst, they hit on a scheme of robbing cash from the local shopping mall, a place they know quite well. That familiarity, it turns out, cannot guarantee success. ~ Eleanor Mannikka, Rovi

George Hamilton confounded his detractors by turning in a first-rate comic performance in Love at First Bite. Hamilton plays Count Dracula, who is evicted from his Transylvanian domicile when the Communist government decides to nationalize his castle. With faithful toady Renfield (Arte Johnson) at his side, Dracula heads for the Big Apple, where he finds the vampire pickings radically different from those on his home turf: for example, ol' Drac suffers the mother of all hangovers when his sinks his fangs into the neck of a wino. Klutzy Cindy Sondheim (Susan Saint James) falls in love with Dracula, not fully aware of his colorful background. But Cindy's stuffy fiance Dr. Jeff Rosenberg (Richard Benjamin), a descendant of Dracula's perennial foe Professor Van Helsing, knows what Dracula's up to and does his best to thwart the vampire's plan. This proves very difficult, since such time-honored remedies as the stake through the heart are frowned upon by the New York City authorities. So successful was Love at First Bite that Hamilton was encouraged to have a satiric go at another literary icon in 1982's Zorro, the Gay Blade. ~ Hal Erickson, Rovi

Recently widowed Dr. Nichols (Walter Matthau) finds himself ill at ease in re-entering the singles scene. Then he meets Ann Atkinson (Glenda Jackson), a patient recuperating from a jaw operation. Freshly divorced from a philandering spouse, Jackson is as reluctant to inaugurate a lasting commitment as Walter--but inaugurate they do, in a hilarious scene wherein Jackson and Walter try to emulate those romantic couples in 1930s movies who were forced by the censors to keep one foot on the floor while lying in bed. It is Jackson who encourages Matthau to stand up for his ideals during a lawsuit involving senile head physician Dr. Willoughby (Art Carney, who is unbearably funny at times). Richard Benjamin rounds off the cast of polished farceurs who add so much sparkle to House Calls. The film was later adapted into a TV sitcom starring Wayne Rogers in the Matthau role, Lynn Redgrave (and later Sharon Gless) in the Jackson counterpart, and David Wayne as a less aphasiatic version of the Carney character. ~ Hal Erickson, Rovi