Robert Chartoff Movies

A drug addict seduces his lover into sharing his chemical joys and together they begin a wrenching downward spiral into destruction in this unflinching, well-wrought drama. Before getting hooked on speed, the woman had a successful career. But, despite the efforts of those who would help her, the couple cannot seem to kick their habit. ~ Sandra Brennan, All Movie Guide

Peter Hyams made his feature-film directing debut with this clumsily paced crime film concerning two Los Angeles vice-squad detectives. Michael Keneely (Eliott Gould) is the swaggering non-conformist and Patrick Farrel (Robert Blake) is the cocky follower. The two cops live for their work and spend most of their time busting call girls, massage parlor employees, and homosexuals. Keneely and Farrel eventually come to the conclusion that every criminal act in Los Angeles is due to the efforts of crime lord Carl Rizzo (Allen Garfield). The boys begin to harass Rizzo to the point of distraction, but their singular attempts to arrest Rizzo cause them to become the targets of, not only the criminal population, but the police force as well. ~ Paul Brenner, All Movie Guide

The many emotional scars left by South Africa's history of institutionalized racism come under the microscope in this drama. As South Africa comes to terms with the legacy of apartheid, their government has created the Truth and Reconciliation Commission, in which the perpetrators of racial violence and injustice must come face to face with their victims if they are to be forgiven for their crimes. Langston Whitfield (Samuel L. Jackson) is an African-American journalist who is assigned to cover these hearings by The Washington Post; Whitfield doubts the efficacy of this process, and sets out to interview Col. De Jager (Brendan Gleeson), a notorious former officer of the South African police who was famous for his violence against blacks in order to put this method to the test. While in South Africa, Whitfield meets Anna Malan (Juliette Binoche), an Afrikaner poet who is covering the hearing for a radio station and is both appalled and disturbed by the details of the violence inflicted against her countrymen. After striking up a friendship, Whitfield and Malan become romantically involved as they try to come to terms with their feelings about what they've learned. Also screened under the title Country of My Skull, In My Country was adapted from a book by South African author Antjie Krog. ~ Mark Deming, All Movie Guide

Martin Scorsese combined the splashy atmosphere of the old studio musical with an unromanticized marriage story in his valentine to Hollywood and the Big Band era. On V-J Day 1945, newly minted civilian saxophonist Jimmy Doyle (Robert De Niro) meets USO singer Francine Evans (Liza Minnelli) at a dance, but she rebuffs every advance that he makes. A day and a hotel lobby meeting later, Jimmy finally wins Francine over after she uses her pop instincts to save his too-jazzy audition at a nightclub. When she goes on tour with Frankie Harte (Georgie Auld) and his Orchestra, Jimmy tracks her down, taking a job with the orchestra to be with her. Together on stage, they make beautiful music; off stage they marry, but the struggle between two artists begins to take its toll. Unable to understand that Francine's needs and talents are just as important as his, and unwilling to compromise his music for security, Jimmy abandons Francine after their baby is born. Separately, the two succeed even more, as Francine becomes a music and movie star, while Jimmy has a top hit and opens a jazz club. When they are reunited several years later, the pair must decide if their relationship is worth another try. ~ Lucia Bozzola, All Movie Guide

In this comedy drama that spoofs detective pictures from the 1940s, Tucker (Michael Caine) is a private eye hired by Anglich (Michael Constantine), a wealthy man who is trying to find the whereabouts of his long lost daughter. Tucker's sleuthing leads him to Ellen (Natalie Wood) and Mianne (Kitty Winn), two members of the decidedly unusual Prendergast Family. So far as Tucker can tell, either Ellen or Mianne is Anglich's missing child, but he's not quite sure which. The supporting cast includes Timothy Carey, Thayer David, Liam Dunn, and Liz Renay; Humphrey Bogart impersonator Jerry Lacy appears in the opening credits. ~ Mark Deming, All Movie Guide

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarty), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s. ~ Lucia Bozzola, All Movie Guide

Rocky Balboa (Sylvester Stallone), a Philadelphia boxer, is but one step removed from total bum-hood. A once-promising pugilist, Rocky is now taking nickel-and-dime bouts and running strongarm errands for local loan sharks to survive. Even his supportive trainer, Mickey (Burgess Meredith), has given up on Rocky. All this changes thanks to Muhammad Ali-like super-boxer Apollo Creed (Carl Weathers). With the Bicentennial celebration coming up, Creed must find a "Cinderella" opponent for the big July 4th bout -- some unknown whom Creed can "glorify" for a few minutes before knocking him cold. Rocky Balboa was not the only Cinderella involved here: writer/director Sylvester Stallone, himself a virtual unknown, managed to sell his Rocky script (one of 35 that he'd written over the years) on the proviso that he be given the starring role. Since the film was to be made on a shoestring and marketed on a low-level basis, the risk factor to United Artists was small. For Stallone, this was a make-or-break opportunity -- just like Rocky's million-to-one shot with Apollo Creed. Costing under a million dollars, Rocky managed to register with audiences everywhere, earning back 60 times its cost. The film won several Academy Awards, including Best Picture. ~ Hal Erickson, All Movie Guide

By concentrating on character development with this first of several sequels to his Oscar-winning smash Rocky (1976), writer/director Sylvester Stallone earned critical praise that would desert him with the boxing saga's shallower subsequent chapters. Stallone returns as Rocky Balboa, a Philadelphia prize fighter enjoying his brief fame after nearly defeating world heavyweight champion Apollo Creed (Carl Weathers). When Rocky is offered lucrative product endorsement opportunities, his limited education and lack of sophistication quickly become an impediment to his future success, causing him embarrassment and his pregnant wife, Adrian (Talia Shire), a great deal of financial concern. Meanwhile, Creed is brooding over his near loss to a fighter he considers an amateur far beneath him and decides to goad a reluctant Rocky into a high-profile rematch. With the family resources dwindling and his pride wounded, Rocky decides that fighting is all he knows and makes the fateful decision to climb back into the ring once more with Creed to vie for the championship belt, despite assurances from all concerned that he will blind himself irreparably. ~ Karl Williams, All Movie Guide

The third sequel to Sylvester Stallone's boxing blockbuster combines the ringside sports melodrama of the previous installments with the Cold War patriotism of the star/director's other motion picture series of the 1980s, the Rambo saga. Stallone is back as Rocky Balboa, the heavyweight champion of the world and now good friend of his one-time nemesis, Apollo Creed (Carl Weathers). Creed is brutally slaughtered in the boxing ring during a lop-sided exhibition match against the superhuman Russian boxer Ivan Drago (Dolph Lundgren), an event that Rocky takes personally. Vowing revenge against Drago in the name of Creed and the United States, Rocky is invited to the Soviet Union for a matchup and hires Creed's former manager (Tony Burton) to get him in shape. While Drago trains using the latest technology, Rocky's ascetic preparations are a low-key affair of carrying logs up hills through knee-deep Russian snow. ~ Karl Williams, All Movie Guide

In 1974, flanked by such filmic monuments to paranoia and corruption as Chinatown and The Parallax View, Elliott Gould and Donald Sutherland tried to re-create the screwball nonchalance of their earlier M*A*S*H performances in this lightweight spy spoof, directed by Irvin Kershner. Gould and Sutherland play two CIA agents -- Griff and Bruland -- who are marked for death by their own agency after botching the defection of a Russian ballet dancer (Michael Petrovich). As they repeatedly mess up their assignments and wriggle out of tight corners, they not only find themselves pursued by the CIA, but also by the KGB, the Chinese Communists, and a terrorist group that wants to destroy the CIA. ~ Paul Brenner, All Movie Guide

James Toback made his screenwriting debut with this taut drama, loosely adapted from the story by Dostoevsky. Axel Freed (James Caan) is an intelligent and well-respected professor of literature at a noted New York university, who uses great writing as a springboard for examining moral and philosophical issues in his class. But when he's not in front of the chalkboard, Axel has a serious problem -- he's hopelessly addicted to gambling. Axel will bet on almost anything, and while he lives for the heady rush of winning, it doesn't happen all that often, and Axel's latest losing streak has put him in debt to his bookies to the tune of $44,000, more than a college professor could hope to pay in 1974. Even after tapping his mother (Jacqueline Brookes), his grandfather (Morris Carnovsky), and his girlfriend (Lauren Hutton) for cash, Axel still owes thousands to his bookie Hips (Paul Sorvino), who is quickly losing his patience with Axel, especially when he learns after he finally scored a major winning streak, rather than paying off his bills he used the money to keep gambling ... and lost it all, leading to visits from an increasingly threatening series of underworld "collectors." The Gambler also features supporting performances from Burt Young, James Woods, and M. Emmett Walsh. ~ Mark Deming, All Movie Guide

Jason Statham stands in for Charles Bronson in this remake of the 1972 action thriller of the same name, in which a veteran hitman teaches his trade to an apprentice who has a connection to one of his previous victims. Simon West directs from a script adapted by Karl Gajdusek. ~ Jeremy Wheeler, All Movie Guide