Howard Brandy Movies

This lavish, cable-TV remake of Orson Welles' The Magnficent Ambersons endeavored to prove Welles right by adhering to his original screenplay, restoring several scenes which provided additional substance and significance to the story and deepened the characterizations. Set in Indianapolis at the beginning of the 20th century, the story parallels the "destruction" of a gentle, elegant way of life thanks to the introduction of the automobile with the disintegration of the aristocratic Amberson family, the wealthiest clan in town. Self-made millionaire auto manufacturer Eugene Morgan (Bruce Greenwood) returns to Indianapolis after a lengthy absence, determined to wed the recently widowed Isabel Amberson Minafer (Madeline Stowe), who still regrets having spurned him years earlier in favor of a "safer" marriage. Most of those concerned want to see the decent, self-effacing Eugene find happiness with the lovely Isabel, but her spoiled, snobbish son George (Jonathan Rhys-Davies), resenting the threat that Eugene and his automobiles pose to his pampered, superficial lifestyle, violently opposes his mother's romance. George's obnoxiously obstreperous stance seriously strains his own relationship with Eugene's sweet, sensible daughter Lucy (Gretchen Mol). Watching from the sidelines are George's neurotic maiden aunt Fanny Minafer (Jennifer Tilly), Isabel's likably bombastic senator brother George Amberson (William Hootkins), and frail family patriarch Major Amberson (James Cromwell), who, like virtually everyone in the story except Eugene, cannot accept -- or see -- that the times are indeed a-changing. ~ Hal Erickson, All Movie Guide

Mickey Rourke and Don Johnson star in this buddy-buddy futuristic action movie. Rourke is Harley Davidson, a biker with the Halloween-costume garb of a leather jacket, short haircut, earring, and a scar. Johnson joins Rourke in the trick-or-treating as Marlboro, an ex-rodeo rider wearing a cowboy hat, vest, and dilapidated boots. They hang out at a neighborhood bar. When they find that a collection of greedy bankers want to increase the bar's payments so it will be forced to close, the two decide to help the bar out of its financial straits by robbing the bank of $2.5 million in order to pay the inflated tab and keep the bar in business. Unfortunately for the boys, the bank deals in an illicit drug called "the dream," and when they rob the armored car, they steal the drugs and not the cash. Of course, the boys become the targets for the bank's sadistic squad of hit men, led by a pleasant chap by the name of Alexander (Daniel Baldwin). ~ Paul Brenner, All Movie Guide

America's most inept law enforcement team mixes business with pleasure as they head to sunny Florida in this comedy. The aging and often-confused head of the Police Academy, Commandant Lassard (George Gaynes), has reached mandatory retirement age, much to the pleasure of the devious Capt. Harris (G.W. Bailey), who is still scheming to take over his job. Lassard, Harris, and a handful of the Academy's "distinguished" graduates (including Bubba Smith, Michael Winslow, Leslie Easterbrook, and Marion Ramsey) travel to Miami Beach for a special ceremony to commemorate Lassard's years of service as he leaves the force; however, a luggage mix-up puts the clumsy cops in the middle of a massive illegal arms deal. Police Academy 5: Assignment Miami Beach was the first film in the long-running series that did not star Steve Guttenberg (Bob Goldthwait also left the franchise at this point), but most of the other regulars bravely soldiered on without him. ~ Mark Deming, All Movie Guide

The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he'd prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, "protected" from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O'Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who've been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to "westernize" himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war's end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City...as a tourist. Bernardo Bertolucci's first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director. ~ Hal Erickson, All Movie Guide

In this third installment of the slapstick comedy series about novice police officers with less than dubious abilities, two police academies have to compete with each other in order to stay in business. The state's skinflint governor claims he has less money to spread around, so one of the police training academies is going to be axed. Commandant Lassard (George Gaynes) calls back some of his former recruits to train the new batch of students, hoping to get the edge on the rival academy. Among the newcomers are brassy Cadet Zed (Bobcat Goldthwait), who is a former gang leader, and his roommate Cadet Sweetchuck (Tim Kazurinsky). Sweetchuck is a wimpy noodle whose Clint Eastwood impersonation is one of the film's most honestly funny moments. ~ Eleanor Mannikka, All Movie Guide

Public safety takes a turn for the worse in this hit comedy, which spawned a long-running franchise. As a crime wave sweeps through a major city, the mayor decides that part of the problem may stem from overly restrictive qualifications for police officers, so she opens the door of the city's Police Academy to anyone who wants to join. Soon, the new class is overrun with misfits and losers, including Carey Mahoney (Steve Guttenberg), who is given the choice of joining the force or going to jail; Karen Thompson (Kim Cattrall), a pretty cadet whom Mahoney has his eye on; Moses Hightower (Bubba Smith), a mountain of a man who likes to tend flowers; and Larvell Jones (Michael Winslow), who has an uncanny ability to imitate the sound of practically anything. Constantly befuddled Commandant Lassard (George Gaynes) and his lackey, Lt. Harris (G.W. Bailey), are none too thrilled with their new charges, but as they try to wash their hands of the cadets, Mahoney and his classmates become all the more determined to make good. The surprising success of Police Academy spawned six sequels and two TV series. ~ Mark Deming, All Movie Guide

Veering off in several thematic directions at once, A Night in Heaven starts with a torrid student-teacher romance which becomes somewhat derailed by adding on a failing marriage, political allusions related to NASA, a frustrated sister of the teacher, and several additional characters, many of whom are stuffing bills into male dancer's jock straps. Faye (Lesley Ann Warren) has just flunked a student in her speech class when she goes out that night to the "Heaven" nightclub and lo-and-definitely behold, there is Rick (Christopher Atkins), the failed student in his incarnation as a successful male stripper. This was a view of the student that Faye had never expected, and before anyone can flip a $20, the two are making mad, passionate love. While this may satisfy a few fantasies, events lead to an ultimate confrontation between the teacher's husband (who worked for NASA) and Rick that is even less believable than the student-teacher sexual liaison. ~ Eleanor Mannikka, All Movie Guide

The 1955 film version of John Steinbeck's East of Eden will always be popular because of the presence in the cast of James Dean. Even so, the film covered only a small portion of the original novel. For those Steinbeck completists who prefer a more thorough treatment, we submit for your approval the TV miniseries adaptation of East of Eden, which first aired February 8, 9 and 11, 1981. This eight-hour dramatization begins in the years following the Civil War. Braggadocio union officer Cyrus Trask (Warren Oates) is the father of gentle, loyal Adam (Timothy Bottoms) and hellraiser Charles (Bruce Boxleitner). Enter the bewitching, mean-spirited Cathy Ames (Jane Seymour), who leads both brothers on and causes an irreparable rift between them. Eventually, Adam marries Cathy, taking her and their twin sons to a 900-acre farm in California's Salinas Valley. Cathy rebels against this cloistered existence and runs off to work in a house of ill repute. In Part Three, we finally meet the "James Dean" character: Cal Trask (played by Timothy Bottoms' brother Sam), who can never hope to come up to the standards of his "good" twin brother Aron (Hart Bochner) in the eyes of his father. Cal's "bad" reputation obscures his good intentions, but by film's end he is compelled to reveal to brother Aron that their mother had not died as father Adam has claimed, but in fact has become a hard-bitten bordello "madam". Adapted for television by Richard Shapiro, East of Eden was part of ABC's informal "Novels for Television" series. ~ Hal Erickson, All Movie Guide

Lending his burlesque touch to 1970s genre revision, Mel Brooks followed his hit "western" Blazing Saddles with this parody of 1930s Universal horror movies. Determined to live down his family's reputation, Dr. Frederick Frankenstein (co-screenwriter Gene Wilder) insists on pronouncing his name "Fronckensteen" and denies interest in replicating his grandfather's experiments. But when he is lured by Frau Blucher (Cloris Leachman) to discover the tantalizingly titled journal "How I Did It" in his grandfather's castle, he cannot resist. With the help of voluptuous Inga (Teri Garr), wall-eyed assistant Igor (Marty Feldman), and a purloined brain, Frankenstein creates his monster (Peter Boyle). Igor, however, stole the wrong brain, and the monster tears off into the countryside, encountering a little girl and a blind hermit (Gene Hackman). Frankenstein finds the monster and trains him to do a little "Puttin' On the Ritz" soft-shoe, but the monster escapes again, this time seducing Frankenstein's uptight fiancée Elizabeth (Madeline Kahn) with his, ahem, sweet mystery. His love life and experiment in shambles, Frankenstein finally finds a way to create the being he had planned. Shooting in gleaming black-and-white, with sets and props from the 1930s and appropriate fright music by John Morris, Brooks' cheeky attitude towards the Hollywood past attracted a large audience, turning it into one of the most popular 1974 releases after (what else?) Blazing Saddles. ~ Lucia Bozzola, All Movie Guide

After directing several extraordinary documentaries for the BBC, including the award-winning The War Game and Culloden, Peter Watkins made his first dramatic feature with this flawed but striking film about Steven Shorter (Paul Jones), a pop singer in a future society where entertainment is controlled by a totalitarian government. Shorter's music and image are used to channel the impulses of rebellious youth; in one concert sequence, the crowd watches him sing a plaintive plea for love and understanding while locked in a cage surrounded by police officers armed with clubs. While Shorter is remarkably popular, he's also living a life created for him by the government, which Steven knows is a sham. When Shorter's handlers decide to revamp his image into that of an obedient, religious boy, he rebels, to his peril. Model Jean Shrimpton made her film debut here as an artist commissioned to paint a portrait of Shorter. Privilege later became something of a cult film; one of the film's admirers was rock poet Patti Smith, who recorded one of "Steven Shorter"'s songs, "Set Me Free," on her 1978 album Easter. ~ Mark Deming, All Movie Guide

During the first worldwide flush of Beatlemania in 1964, United Artists wanted to ship out a movie with The Beatles before their vogue was over. Working within a tight $500,000 budget, director Richard Lester turned out A Hard Day's Night in a fast 6 1/2 weeks; the picture was in the theatres three months after shooting commenced. Using a variety of techniques cribbed from Hollywood slapstick comedies, the French "new wave" movement, and his own experiences as a TV-commercial director, Lester, with screenwriter Alun Owen, fashioned an exhilarating study of a "typical" 36 hours in the lives of the Fab Four. Onto a plot about getting to the Big Show on time are hung a series of instant-reaction gags, character vignettes, and musical setpieces. Much of the humor arises from Paul McCartney's efforts to keep his grandfather (Wilfred Brambell), a "clean old man," from getting into mischief. Also good for several laughs is the hookey-playing Ringo Starr, whose mistimed declaration of independence lands him in jail. We are also treated to a war of nerves between the unflappable John Lennon and an uptight TV director (Victor Spinelli), who worries that, should the Beatles not show up at broadcast time, he'll be demoted to "News In Welsh." George Harrison stars in a sequence in which he is mistaken for an auditionee by the producer (Kenneth Haigh) of a superficially trendy, teen-oriented TV weekly. Then there's Norman Rossington and John Junkin as The Beatles' managers, who carry on a battle royale simply because one man is taller than the other. The supporting cast includes comedienne Anna Quayle, cartoonist Bob Godfrey, TV host Robin Ray, dancer Lionel Blair, Harrison's future wife Patti Boyd, and director Lester himself. The songs include "I Should Have Known Better," "And I Love Her," "Tell Me Why," "If I Fell," "Can't Buy Me Love," and the title song. ~ Hal Erickson, All Movie Guide