Wilford Brimley Movies

While visiting his former partner in an Arizona border town, LA cop Jack Lucarelli witnesses a murder. The killer is white slaver Gerald McRaney-who turns out to be one of local sheriff Wilford Brimley's most trusted deputies. Nobody believes Lucarelli's eyewitness account, not even his ex-partner Jameson Parker, another of Brimley's deputies. Eventually, it dawns on Parker that his department is seething with corruption. He and Lucarelli work secretly to put an end to McRaney's activities, leading inexorably to the film's climactic bloodbath. The otherwise eminently forgettable American Justice is interesting for its reteaming of onetime Simon and Simon costars Jameson Parker and Gerald McRaney, this time on opposite sides of the law. Parker coproduced the film with costar Lucarelli, while one of the film's supporting actors, Dennis A. Pratt, wrote the script . ~ Hal Erickson, All Movie Guide

Produced for the HBO Cable service, Act of Vengeance reenacts the 1969 murder of United Mine Workers leader Jock Yablonski. Yablonski (Charles Bronson) virtually writes his own death warrant when, after a "safe" mine collapses and 80 miners are killed, he rebels against the incumbent UMW boss Tony Boyle (Wilford Brimley) to campaign for presidency of the union. Boyle gets the word out that one less Yablonski in the world would be preferable. Yablonski is depicted as being fully aware of the danger he faces in challenging Boyle--and is supported in his decision by his courageous wife (Ellen Burstyn). Based on the book by Trevor Armbrister, Act of Vengeance premiered on April 20, 1986. ~ Hal Erickson, All Movie Guide

Cocoon is a warm-hearted science-fiction fable that avoids becoming overly corny thanks to the performances of its mostly senior cast. Wilford Brimley, Don Ameche, and Hume Cronyn are three old-timers who sneak out of their retirement home a few days a week to swim in the large pool on an abandoned estate next door. When the threesome begins to feel curiously younger, they discover strange pods on the floor of the pool. These pods are alien cocoons, which are being pulled from the ocean by a team of extra-terrestrials in human form led by Walter (Brian Dennehy), who has hired a local charter operator (Steve Guttenberg) to assist him. Walter explains to the seniors that energy from the cocoons is restoring youth and vigor to the older men every time they go for a dip. The aliens agree to let the men continue to swim in secret, but of course they can't keep their discovery to themselves. Soon the pool is swarming with retirees, with the notable exception of Bernie (Jack Gilford), who has no interest in prolonging life any longer than necessary. The aliens ultimately prepare to return home and offer the retirees eternal life if they leave Earth behind as well. Director Ron Howard treats his old-timers with care and dignity, and they respond with deeply sympathetic performances (Ameche won the Best Supporting Actor Oscar); the film's science-fiction trappings ably sustain the story's all-too-human ruminations on youth, aging, life, and death. ~ Don Kaye, All Movie Guide

A crew of international astronauts find that a murderer is in their ranks. They must solve the crime before reaching earth, and fortunately receive help from the base commander (Wilford Brimley). The film was originally made for television. ~ John Bush, All Movie Guide

Released in the mid-1980s, this farm drama stars Jessica Lange and Sam Shepard as Jewell and Gil Ivy, who run a small farm in Iowa that has been in Jewell's family for several generations; her father Otis (Wilford Brimley) lives with them, along with their three children. While the work is hard and the earnings are slim, the Ivys have been able to get by, like most of their neighbors, until a one-two punch threatens to devastate the Iowa farming community. First, a tornado devastates the area, then the Farmers Home Administration calls in the loans on most of the farmers in the area, which they are in no position to repay. With thirty days to "voluntarily liquidate" their property, the Ivys, like most of their friends and neighbors, are desperate to find a way to hold on to their property, and when the stress causes Gil to buckle, Jewell must step in to keep the clan going. In addition to starring as Gil, Sam Shepard also contributed (without credit) to William D. Wittliff's screenplay; Wittliff was also slated to direct, but shortly after shooting began he was replaced by Richard Pearce. ~ Mark Deming, All Movie Guide

This macabre, whimsical, erotic, dark, seriocomic film is a complex tale about an eccentric family and the psychological and emotional maelstroms that follow them around from New England to New York to Vienna, where the Hotel New Hampshire is located. Writer-director Tony Richardson worked from the convoluted novel by John Irving that covers most universally saleable topics -- homosexuality, death, incest, abandonment, Nazis, masochism, terrorists, rape, mental instability, and anarchists. The children in the family are the main focus: John (Rob Lowe) is a womanizing high-school student with a deep-rooted desire for his own sister; Franny (Jodie Foster) is the eldest daughter, a victim of a gang rape, now morbidly fascinated by one of the rapists, and equally attracted to her brother with incestuous desire; Frank (Paul McCrane) is the younger gay brother; and Lilly (Jennifer Dundas) is the little sister who blossoms into a famous author. Associated with the family is Suzie the Bear (Nastassja Kinski) who is not secure enough to come out of her bear suit. One friend of the family, Freud (Wallace Shawn), has been blinded by the Nazis and is running the Hotel New Hampshire in Vienna when he asks everyone to come and help him out. By this time, the plot has run out of room, and the climactic endings to several unresolved relationships happen in quick succession. ~ Eleanor Mannikka, All Movie Guide

The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud's closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than blatantly verbal terms. (If the characters told you that the story was a retelling of the Camelot legend in baseball terms, would you have watched?) Another plus is the pastoral theme music by Randy Newman, which has been well utilized on sports broadcasts and "human interest" TV documentaries ever since. The baseball scenes in The Natural were staged at War Memorial Stadium in Buffalo, New York. ~ Hal Erickson, All Movie Guide

O'Malley (Tom Selleck) is a heavy-drinking, tough biplane pilot flying the skies of China for fun and profit when Eve (Bess Armstrong) seeks him out to help her find her father before he is declared dead and she loses an inheritance to the evil Bentik (Robert Morley). O'Malley does not really want Eve around, but adventure and the challenge beckon. If only their journey together had been sparked by a little excitement, clever humor, snappy dialogue, and seductive romantic chemistry, this bland film would be a different trip altogether. ~ Eleanor Mannikka, All Movie Guide

Charles Bronson at 63 or so, continues his vigilante persona in this run-of-the-mill crime drama about a Richard Speck-style killer who knifes young nurses to death. There is no doubt that the film exploits both the heinous, 1966 Speck murder of eight nurses in Chicago and an audience's willingness to go along with the Bronson character, Leo Kessler, when he uses illegal means to entrap criminals. The captured killer, Warren Stacey (Gene Davis) manages to go free because of red tape and the need to wait for the outcome of his insanity plea. When he returns to his murderous predilection, Kessler takes action to permanently stop him. ~ Eleanor Mannikka, All Movie Guide

John Carpenter's The Thing is both a remake of Howard Hawks' 1951 film of the same name and a re-adaptation of the John W. Campbell Jr. story "Who Goes There?" on which it was based. Carpenter's film is more faithful to Campbell's story than Hawks' version and also substantially more reliant on special effects, provided in abundance by a team of over 40 technicians, including veteran creature-effects artists Rob Bottin and Stan Winston. The film opens enigmatically with a Siberian Husky running through the Antarctic tundra, chased by two men in a helicopter firing at it from above. Even after the dog finds shelter at an American research outpost, the men in the helicopter (Norwegians from an outpost nearby) land and keep shooting. One of the Norwegians drops a grenade and blows himself and the helicopter to pieces; the other is shot dead in the snow by Garry (Donald Moffat), the American outpost captain. American helicopter pilot MacReady (Kurt Russell, fresh from Carpenter's Escape From New York) and camp doctor Copper (Richard Dysart) fly off to find the Norwegian base and discover some pretty strange goings-on. The base is in ruins, and the only occupants are a man frozen to a chair (having cut his own throat) and the burned remains of what could be one man or several men. In a side room, Copper and MacReady find a coffin-like block of ice from which something has been recently cut. That night at the American base, the Husky changes into the Thing, and the Americans learn first-hand that the creature has the ability to mutate into anything it kills. For the rest of the film the men fight a losing (and very gory) battle against it, never knowing if one of their own dwindling number is the Thing in disguise. Though resurrected as a cult favorite, The Thing failed at the box office during its initial run, possibly because of its release just two weeks after Steven Spielberg's warmly received E.T.The Extra-Terrestrial. Along with Ridley Scott's futuristic Alien, The Thing helped stimulate a new wave of sci-fi horror films in which action and special effects wizardry were often seen as ends in themselves. ~ Anthony Reed, All Movie Guide

While traveling across Arizona with his divorced mother and her new boyfriend, a precocious young boy stumbles onto a grisly murder scene, placing the three of them in mortal danger at the hands of a pair of good-ol'-boy twin psychopaths. It's hard to tell whether the producers of this film decided to "dress up" a standard slasher script with spooky desert vistas and quality actors (including cuddly little Peter Billingsley, who forever endeared himself to viewers of the perennial favorite A Christmas Story), or rather chose to inject gratuitous T&A and gore scenes into an otherwise more sophisticated Hitchcockian thriller to lure the Friday the 13th crowd. Whatever the motivation, the end result is a muddled mishmash of family drama and sleazy dead-teen mayhem that never found an audience. ~ Cavett Binion, All Movie Guide

One of several syndicated TV miniseries of the 1980s, Roughnecks was part of the same "Golden Circle" project that previously yielded the multipart Wild Times. The title refers to a group of two-fisted oil wildcatters, among them self-made millionaire Paul Marshall (Steve Forrest), his lifelong pal and business partner, Plug Champion (Harry Morgan), and up-and-coming young "roughneck" O'Dell Hartman (Sam Melville). Avoiding the temptation of carbon-copying such previous oil-drilling movies like Boom Town, Flowing Gold, and Tulsa, this two-parter devoted much of its screen time to the hero's efforts to help Marshall's former sweetheart Ida McBride (Vera Miles) save her ranch by bringing in a valuable methane well. In most local markets, Roughnecks was telecast the third week of August (usually the 15th and 16th of that month) in 1980. ~ Hal Erickson, All Movie Guide

The Rodeo Girl is 26-year-old Sammy Garrett (Katherine Ross). Despite opposition from the good-ole-boy network, Sammy is determined to succeed as a bronco buster. But her plans may be thwarted when Sammy becomes pregnant. Even if she doesn't lose the baby, it's likely that she'll lose the love of the baby's father (Bo Hopkins) if she continues her rough-and-tumble lifestyle. Inspired by real-life rodeo world champion Sue Pirtle, the made for TV Rodeo Girl first aired September 17, 1980. ~ Hal Erickson, All Movie Guide