D. Constantine Conte Movies

At times, Another 48 Hrs. seems less like a sequel to than a parody of the first 48 Hrs., especially when Nick Nolte, repeating his role from the earlier film, begins commenting on the cliched absurdity of the goings on. This time, Nolte risks life, limb and career as he obsessively tries to bring an elusive master criminal known as "The Iceman" to justice. Eddie Murphy, who stole the show in the first 48 Hrs. as the wheeler-dealer convict who becomes Nolte's reluctant partner, is brought into the plotline of the second film when a contract is taken out on his life. The adversarial relationship between Nolte and Murphy, supposedly dissipated by the end of the first film, is revivified in the sequel via a couple of plot devices. Still, Murphy rallies to the occasion, in the process saving Nolte from being thrown off the force. Though not as successful as the first film, Another 48 Hrs. proved that there were still enough Eddie Murphy fans around in 1990 to insure a strong box-office showing. ~ Hal Erickson, All Movie Guide

High-powered gangsters move this crime drama along at a fast pace. When two cops, Eddie Jillette (Richard Gere) and Joe Collins (Gary Basaraba), hear about a contract out on local crime boss Losado (Jeroen Krabbe), they go undercover posing as hitmen, and the result is murder. Collins and the man who hired them, Paul Deveneux (Terry Kinney) are killed, and Jillette goes looking for the assassin. He ends up in New Orleans where he locates Michel Duval (Kim Basinger), the girlfriend of Deveneux now virtually held a prisoner by Losado. Jillette has his work cut out for him. ~ Eleanor Mannikka, All Movie Guide

An Italian deli owner (Tom Skerritt) gets fed up with the petty hoodlums in his south Philadelphia neighborhood who have been terrorizing his friends. He decides to form a neighborhood watch group to fight off the crooks. While his intentions are the very best, the group of vigilantes he forms resorts to beating up offenders before bothering to call the police, the police themselves are irritated that the citizens are interfering, and the deli owner starts to like the publicity he is getting for his vigilante work. As things unravel, a television news crew is there to present all sides of the story. ~ Eleanor Mannikka, All Movie Guide

John Milius's jingoistic direction and pulpy screenplay fit perfectly into this film version of the Robert E. Howard fantasy story of the sword and sorcery hero, Conan the Barbarian. Complementing Mulius's heavy metal production is Arnold Schwarzenegger's leaden acting, which in any other context would be deadly, but here (as in The Terminator) corresponds nicely with the whole sonorous project. The story begins when a horde of rampaging warriors massacre the parents of young Conan and enslave the young child for years on The Wheel of Pain. The Wheel of Pain seems to have as its only purpose the building up of Conan's muscles, so it's no surprise that one day Conan grows up to become Arnold Schwarzenegger. As the sole survivor of the childhood massacre, Conan is released from slavery and taught the ancient arts of fighting. Transforming himself into a killing machine, Conan travels into the wilderness to seek vengeance on Thulsa Doom (James Earl Jones), the man responsible for killing his family. In the wilderness, Conan takes up with the thieves Valeria (Sandahl Bergman) and Subota (Gerry Lopez). The trio comes upon a weird snake cult, linked to Doom, and Conan wants to trek off to Doom's mountain retreat to kill him. But he is prevented from doing that by King Osrik (Max Von Sydow), who wants the trio of warriors to help rescue his daughter who has joined Doom in the hills. ~ Paul Brenner, All Movie Guide