Jim Davies Movies

In this low-budget, straight-to-video war drama, a Pentagon advisor working in a South American country suddenly finds his sympathies shifting toward the rebel cause when he realizes that some of the atrocities going on in the conflict-torn country are being perpetrated by his own countrymen in disguise. When he first finds out about the covert activities, he protests, but that only gets him tortured by his men. He then becomes a full-fledged renegade and begins secretly training a guerilla force to fight back. Poorly executed violence ensues. ~ Sandra Brennan, Rovi

When young Bobby Delaney (James Davies) inadvertently releases genie Dancee (Heidi Paine) from her lengthy imprisonment, the grateful girl agrees to grant him three wishes. When Bobby wishes to find his true love, the genie obliges by conjuring up a horde of infatuated women for him to try out. ~ Iotis Erlewine, Rovi

A New York City police officer struggles to remove the threat presented by a gang of crazed killers who are wreaking havoc in the subway system. ~ Iotis Erlewine, Rovi

Attorney Jack Devonhoff (Jamie Gillis) hires free-lance filmmaker George Ringer (Tim Gail) to set up a surveillance camera in the apartment of bank employee Laura Williamson (Kim Lambert) in this crime thriller. Laura is suspected of embezzlement according to Devonhoff, and George willfully watches Laura and her boytoy Carson (James Davies) in addition to any money matters. George's girlfriend Jeanne (Jeanne Marie) leaves when she feels neglected. Ringer soon realizes Devonhoff has set him up to take the fall for robbery and murder in this R-rated feature. ~ Dan Pavlides, Rovi

The "Eye to Eye" series offers this view of the photographer as an artist and the connection between taking a photo and painting a picture. ~ Rovi

The action in this loose adaptation of a popular 1925 silent tells the galloping (and largely untrue) tale if the formation of the U.S. rapid transcontinental mail system with a focus on the adventures of Buffalo Bill Cody (Charlton Heston) and Wild Bill Hickock (Forrest Tucker). ~ Sandra Brennan, Rovi

Library footage from the 1940 Paramount feature The Forest Rangers is used sparingly but effectively in the 1952 Pine-Thomas production The Blazing Forest. John Payne plays troubleshooting logger Kelly Hanson, who is hired by timber baroness Jessie Crain (Agnes Moorehead). Hanson is promised a huge bonus and percentage if he can deliver his quota of logs ahead of time, so that Jessie can afford to pay for her niece Sharon's (Susan Morrow) education. Along the way, Sharon falls in love with Hanson, only to have her heart broken when it appears that Hanson is carrying on with another woman (Lynne Roberts). All of the film's various subplots come to a head during a climactic forest fire, vividly photographed in Technicolor by Oscar-winning cinematographer Lionel Lindon. ~ Hal Erickson, Rovi

Streets of Laredo is a streamlined and Technicolorful remake of Paramount's 1936 box-office champ The Texas Rangers. William Holden, William Bendix and MacDonald Carey star as roguish outlaws Jim Dawkins, Wahoo Jones and Lorn Remming. After rescuing a little girl named Rannie Carter from a wicked tax collector, Dawkins and Jones decide to switch to the right side of the law; Remming, however, has other ideas. Years later, Rennie has grown up quite prettily into Mona Freeman, while Jim and Wahoo have become scrupulous members of the newly-formed Texas Rangers. Jim is in love with Rennie, but she has eyes for the still-crooked Lorn -- at least until Lorn proves to be the louse that the audience knew he was from the first reel. Streets of Laredo meticulously recreates the most famous scene from Texas Rangers, wherein one of the film's more sympathetic characters is abruptly shot to death from under a table; the scene still works, though it packed a bigger wallop in the original. Alfonso Bedoya, the "I don't have to show you any stinking badges" bandit from Treasure of the Sierra Madre, is appropriately menacing as the tax collector. ~ Hal Erickson, Rovi

This second of four film adaptations of Damon Runyon's Little Miss Marker is tailored to the talents of Bob Hope. A shifty Broadway bookie, Sorrowful Jones (Hope) becomes a reluctant foster parent when an anxious gambler leaves behind his little girl Martha Jane (Mary Jane Saunders) as a "marker," or IOU. When the father is killed by mobster Big Steve Holloway (Bruce Cabot), Sorrowful decides to hide Martha Jane from the authorities, lest the poor girl get tossed in an orphanage. Lucille Ball co-stars as Sorrowful's erstwhile girlfriend Gladys, who along with Mary Jane is instrumental in "reforming" the cynical Jones. The climactic scenes, wherein Sorrowful tries to smuggle a horse into a hospital in order to bring the little girl out of a coma, deftly combines slapstick with pathos. A remake of 1934's Little Miss Marker, which starred Shirley Temple in the title role, Sorrowful Jones was itself remade in 1962 as the Tony Curtis vehicle Who's Got the Action; it was filmed again in 1980, once more as Little Miss Marker, with Curtis as the villain and Walter Matthau in the Bob Hope role. ~ Hal Erickson, Rovi

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, Rovi

A man who dreams of seeing the future discovers the horrible burden that it can carry in this film noir suspense story. Suicidal Jean Courtland (Gail Russell) is prevented from killing herself by her fiancée Elliot Carson (John Lund). When they consult psychic John Triton (Edward G. Robinson), he confesses that he used his powers to bring on her death. Years ago, Triton was a phony mentalist in a vaudeville act, but he began seeing genuine visions of the future, most of which portended tragic results. After a premonition of the death of his wife Jenny (Virginia Bruce) in childbirth, a terrified Triton went into hiding for five years; upon his return, he discovered that his wife had married Whitney (Jerome Cowan) shortly after John was declared dead...and she died giving birth. Years later, Jenny's child grew up to be Jean Courtland, and when Triton receives a vision of Whitney's death in a plane wreck, he rushes to California in hopes of stopping fate. However, he's foreseen a tragic future for both Jean and Whitney and is afraid of the agony that awaits them. The Night Has a Thousand Eyes was adapted from a novel by Cornell Woolrich. ~ Mark Deming, Rovi