Janet Brandt Movies

In the first episode of a two-part story, Carla (Rhea Perlman) and Eddie (Jay Thomas) have decided to get married. Unfortunately, Eddie happens to see Carla just before the wedding, causing the superstitious side of her nature to kick in (she's now convinced that if they don't wed exactly at the appointed hour, they'll have to wait another 55 years). Other obstacles to the couple's connubial bliss are their respective relatives -- not to mention the mood swings of Rebecca (Kirstie Alley), who is nervously launching a campaign to impress her boss Evan Drake. ~ Hal Erickson, Rovi

Pop singer Neil Diamond stars in this ill-begotten second remake of Al Jolson's seminal 1927 musical The Jazz Singer. The moth-eaten story concerns a cantor's son who desires success as a pop singer, despite the wishes of his imperious father. The film takes place in the present day with Yussel Rabinowitz (Neil Diamond) playing a young (though middle-aged looking) cantor performing at the synagogue of his father (Laurence Olivier). Yussel is married and has settled down to a life of religious devotion to the teaching of his fath. But on the side, he writes songs for a black singing group, and when a member of the quartet takes ill, Yussel covers for him at one of their gigs by wearing blackface! The nightclub engagement is such a success that Yussel abandons his family -- and his father's synagogue -- and leaves his New York home for Los Angeles, hoping to break into the music business. Almost immediately he is spotted by spunky agent Molly Bell (Lucie Arnaz), who books him as an opening act for a touring comic. Yussel hits it big, but his father resents Yussel's forsaking their traditional Jewish ways. His father disowns him, rending his garments and bellowing, "I hef no son!" ~ Paul Brenner, Rovi

Martin Brest was a student filmmaker when he made Hot Tomorrows for $33,000 -- practically nothing even by the standards of 1977. He went on to produce major Hollywood movies, including Beverly Hills Cop. In this film, Michael (Ken Lerner) is a young New York writer who has moved to L.A. and who spends his days writing about his elderly aunt, when he is not busy exploring his obsession with death. He is spending Christmas Eve with Louis (Ray Sharkey), a visiting friend, and they choose some unusual sites in which to carry on their holiday discussions, including a mortuary and a retirement home. Though this short black-and-white feature was given high praise by critics, few have had a chance to see it. ~ Clarke Fountain, Rovi

Sheila (Jeannie Berlin) is not one of life's golden people: she's not especially good-looking, charming, charismatic, or smart. As a result, she has to struggle constantly. For some reason, she decides to move from the suburbs to New York City. Now she has a roommate (Rebecca Dianna Smith), a job with a record company, and a self-imposed obligation to try to meet some men. One night she goes out to a singles bar and meets Sam (Roy Scheider), a nice-looking doctor. They have what is for him a one-night stand, but Sheila is smitten. She hasn't had all that much luck with men, and this one she would like to keep. Embarrassed, Sam tries as gently as he can to ignore her. This becomes much more difficult when he starts dating Sheila's personable roommate. The screenplay for this gentle comedy was adapted by Gail Parent from her best-selling book of the same name. ~ Clarke Fountain, Rovi

In Sidney J. Furie's interminable caper film, Billy Dee Williams is a federal agent who takes matters into his own hands after the government refuses to do anything about French drug trafficking. After his daughter dies of an overdose of heroine and the authorities seem unconcerned, Nick Allen (Williams) takes it upon himself to organize a small independent task force of mercenaries to travel to France in order to kill the nine leaders of a Marseilles drug syndicate. This motley group of angry American citizens who are out for blood include the rabid Mike Willmer (Richard Pryor); the sedate Sherry Nielson (Gwen Welles); the robust Dutch Schiller (Warren Kammerling); and the kindly old Jewish couple, Ida (Janet Brandt) and Herman (Sid Melton), who want to inflict Old Testament revenge upon the dope peddlers. ~ Paul Brenner, Rovi

Alexander Singer directed this low-budget independent American film from 1961 featuring Lola Albright in a sexy, tactile performance as a bored stripper in her late 30s who, as an afterthought, seduces her 17-year-old downstairs neighbor (Scott Marlowe). After bedding down the young virgin, the stripper discovers a kind of sexual ecstasy she never imagined in her wildest burlesque hallucinations. Unfortunately for her ecstasies, when the boy finds out her line of work, he is shocked and disgusted and he leaves her, moving on to sexual conquests with women closer to his own age. ~ Paul Brenner, Rovi

Claude (Vince Edwards) is an educated, respectable young man with a goal in life -- to buy a house that he has his eye on; but to do that on the money he makes in his office job could take 25 years, so he chooses to embark on a new profession, as a hired assassin. A cold-blooded, thoroughly professional killer, he does his work quickly and efficiently and establishes himself as a top trouble-shooter for the particular mob that employs him, even disposing of his immediate superior when he becomes a liability to the higher-ups. But then he takes a new contract to dispose of the key witness in a federal trial; he flies out to Glendale, CA, and meets the two local hoods, George (Herschel Bernardi) and Marc (Phillip Pine), who are supposed to show him the hit, and it takes their getting used to his methodical way of working, which includes days of seeing the sights and recreation just to see if they're being followed. All goes well until Claude discovers that the target he is to kill is a woman. As he explains, women are too unpredictable in their behavior, and this particular woman, Billie Williams (Caprice Toriel), a nightclub singer and pianist, is particularly erratic. Claude is almost ready to abandon the hit, but he doesn't want to walk out on a contract, especially as that could get him killed. He tries one basic method of assassination that's very clever but also too dependent on events he can't predict, and it fails; then he rigs a hit with George and Marc's help that seems letter-perfect and foolproof, until he discovers that it failed because of the intervention of someone -- another woman -- that no one could have predicted. Finally, he's forced to get Marc and George out of the way before they kill him, and he goes for the target once more. It's then that we discover the one serious chink in Claude's seemingly impervious, steely psychic armor. ~ Bruce Eder, Rovi