Dan Curtis Movies

Based on the book by Newsweek senior editor David France, the made-for-cable Our Fathers dramatizes the pedophilia scandal that literally tore apart the Catholic Diocese of Boston. The story is set in motion when the Boston Globe gets wind of a determined effort by lawyer Mitchell Garabedian (Ted Danson) to get belated justice for his client Angelo DeFranco (Daniel Baldwin), who as a youngster was repeatedly abused sexually by Father John Geoghan (Steve Shaw). Several of Angelo's contemporaries had previously come forth with stories of Father Geoghan's misdeeds, and the similar outrages of other priests, but they had made the error of complaining to the head of the Boston Diocese, the arrogant Cardinal Bernard Law (Christopher Plummer), who turned a deaf ear to the claims and in some cases went so far as to tell the complainants that they, and not the priests, were somehow to blame. All the while, Law and his colleagues covered up the scandal through a series of covert transfers of the offending priests, allowing the perpetrators to continue their sexual activities with shocking impunity. The film also details a number of related subplots, including the plight of Mary Ryan (Ellen Burstyn), all of whose seven sons suffered from the priests' abuse, and Father Spagnolia (Brian Dennehy), who dared to attack Law's handling of the scandal from his pulpit -- only to have the sexual skeletons in his own closet revealed. Our Fathers made its Showtime cable debut on May 21, 2005. ~ Hal Erickson, Rovi

This documentary allows pro and anti-UFO advocates, cultists and theorists to speak for themselves, and does not advocate any particular point of view about the phenomena. In addition to interviewing such figures as the Pentagon employee and self-appointed head of the "Citizens Against UFO Secrecy" Larry W. Bryant, the filmmakers also interview the heads of several UFO cults. Among these are Ruth E. Norman of the Unarius cult and Alan Mosely of the Aetherius Society. Some classic old movie clips are included, as well as clips from a Unarius-made movie. The filmmakers also interview men-on-the-street in L.A., including quite accidentally one former UFO B-movie actress (Sherrie Rose). ~ Clarke Fountain, Rovi

Two patients, one with flashbacks and another who remembers the crash of a UFO, lead a well-known Los Angeles psychiatrist into an investigation of UFO abductions in order to help them. ~ Tana Hobart, Rovi

Hypnotic regression prompts a pair of sisters to recognize that they've been abducted by aliens. ~ Jason Ankeny, Rovi

In the final episode of the seven-part, eighteen-hour miniseries The Winds of War, Ambassador-at-large "Pug" Henry (Robert Mitchum) represents the US in a series of conferences with the intansigent Russian premier Josef Stalin (Anatoly Chauginian). Dallying briefly with his erstwhile British sweetheart Pamela Tudsbury (Victoria Tennant), Pug stays in Moscow long enough to witness the attempted Nazi invasion. Meanwhile, Pug's daughter-in-law Natalie (Ali McGraw) and her Uncle Aaron (John Houseman) are among the Jewish refugees being smuggled into Palestine. And back in the Western Hemisphere, Pug's sons Byron (Jan-Michael Vincent) and Warren (David Dukes) are swept up in the Japanese attack on Pearl Harbor. The Winds of War was adapted by Herman Wouk from his own novel. ~ Hal Erickson, Rovi

Set in 1940, the fourth episode of the seven-part, eighteen-hour miniseries The Winds of War finds American troubleshooter Cmdr. "Pug" Henry (Robert Mitchum) heading to England on a secret mission for President Roosevelt. Here he is reunited with his secret love, Pamela Tudsbury (Victoria Tennant) and later has a tense showdown with Winston Churchill (Howard Lang) over policy matters. Barely escaping the Nazi bombs during the first London blitz (a spectacular sequence), Henry survives to fly in a retaliatory raid over Germany--while both the women in his life (the other being his long-suffering wife Rhoda [Polly Bergen]) wait and worry. The Winds of War was adapted by Herman Wouk from his own novel. ~ Hal Erickson, Rovi

The sixth episode of the seven-part, eighteen-hour miniseries The Winds of War takes place in early 1941. Government attache "Pug" Henry (Robert Mitchum) commands a fleet of destroyers escorted a US convoy that is unoffically heading to England, there to aid in the war effort against Germany. En route, Hardy crosses the path of a Nazi U-boat, forcing him to choose between violating America's neutrality or fighting for his life. Meanwhile, Henry's pregnant daughter-in-law Natalie (Ali Graw) and her Uncle Aaron (John Houseman) encounter more anti-semitism as they try to book passage from Europe to the US. The Winds of War was adapted by Herman Wouk from his own novel. ~ Hal Erickson, Rovi

In the second episode of the seven-part, eighteen-hour miniseries The Winds of War, several of the characters introduced in part one are swept up in the 1939 Nazi invasion of Poland. Among these are Byron Henry (Jan-Michael Vincent), Natalie Jastrow (Ali McGraw) and Leslie Slote (David Dukes), who in true Casablanca fashion must realize that the problems of three little people aren't worth a hill of beans in this crazy world--especially after witnessing the Nazi slaughter of a Polish refugee caravan. Back in the US, Byron's father, Naval Commander Victor "Pug" Henry (Robert Mitchum) is the recipient of personal, highly top-secret orders from President Roosevelt (Ralph Bellamy) himself--orders which may well determine the fate of the free world. The Winds of War was adapted by Herman Wouk from his own novel. ~ Hal Erickson, Rovi

An angry mother (Cloris Leachman) fights an ineffective judicial system to bring justice to her daughter's rapist. The film was based on a true story and made for television in 1979. ~ John Bush, Rovi

Producer Dan Curtis also sat in the director's seat for The Last Ride of the Dalton Gang. Making no effort to whitewash its hooligan protagonists, the film recounts the wild-west exploits of the outlaw Dalton Brothers: Bob (Cliff Potts), Emmett (Larry Wilcox), Grat (Randy Quaid, who'd probably get better billing these days) and Frank (Don Collier). The story culminates in the Dalton's suicidal raid on Coffeyville, Kansas. Most of what transpires is related in flashback from the vantage point of fifty years afterward by surviving Dalton brother Emmett (hope we're not giving anything away here). The made-for-TV Last Ride of the Dalton Gang lets us know up front that "What follows here is not intended to be an accurate re-creation of fact. Not that it matters." Its original airdate was November 20, 1979. ~ Hal Erickson, Rovi

Directed and produced by genre icon Dan Curtis (Dark Shadows, Trilogy of Terror), this trio of terrifying stories from I Am Legend author Richard Matheson features performances by Patrick Macnee, Ed Begley, Jr., and Horst Buchholz. The horror gets underway in "Second Chance," a story about a man (Begley, Jr.) who restores a vintage automobile only to find that this his prized vehicle has the power to transport him back in time. The chills keep on coming when the vampire-fearing mistress of an old mansion (Anjanette Comer) falls prey to a sinister scheme involving her husband (Macnee) and a benevolent family friend (Bucholtz) with a dark secret, and a grieving mother (Joan Hackett) is both terrified and overjoyed to be reunited with her presumed-dead son (Lee. H. Montgomery) in "Bobby." ~ Jason Buchanan, Rovi

Dan Curtis, director of TV's Dark Shadows series, directed this eerie haunted-house thriller about a house which draws energy from its inhabitants and selects its own "keeper" from the family of Ben and Marian Rolf (Oliver Reed & Karen Black), who rent the strangely-affordable house one fateful summer then find themselves slowly succumbing to its creepy powers. The photography is suitably moody, and many of the standard haunted-house cliches are used to decent effect -- particularly a violent scene in which the surrounding woods form a barrier to prevent the family station wagon from escaping the area -- but the pace is too leisurely overall, climaxing with the type of grim ending employed by nearly every mainstream horror film in the late 70's. Black's spooky looks are used to maximum effect, but are never quite as chilling as the final shot of Curtis's TV movie Trilogy of Terror from the previous year. ~ Cavett Binion, Rovi