Don Guest Movies

Amazingly, At Close Range was based on a true story. Bored teenager Sean Penn meets his prodigal father (Christopher Walken) for the first time in years. Though Penn is vaguely aware that his father is a criminal, he is nonetheless impressed by his dad's high life style and creature comforts. But Walken's veneer of charm is fragile indeed, and it becomes clear that he is willing to kill anyone--even his family--if they get in his way. When Walken rapes Penn's girl friend (Mary Stuart Masterson) to keep the boy from cooperating with the DA, it is only a warm-up for the horrors to come. The screenplay for At Close Range was written by Nicholas Kazan, the son of prominent film director Elia Kazan. ~ Hal Erickson, Rovi

A man discovers that his best friends are actually spies -- or are they? -- in this thriller based on Robert Ludlum's best-selling novel. John Tanner (Rutger Hauer) is the host of a television news show who once a year spends a long weekend with three of his best friends from college, Bernard Osterman (Craig T. Nelson), Joseph Cardone (Chris Sarandon), and Richard Tremayne (Dennis Hopper). Tanner is approached by Lawrence Fassett (John Hurt), a CIA agent who has evidence proving that his three pals are actually agents working with the Soviet Union. With Tanner's reluctant approval, his house is wired with video surveillance equipment so that the CIA can monitor what Osterman, Cardone, and Tremayne say and do over their weekend together in hopes of putting the traitors behind bars. However, Tanner soon realizes that Fassett's agenda is not all that it appears to be. The Osterman Weekend was directed by Sam Peckinpah; it proved to be his last film, as he died a year after its release. ~ Mark Deming, Rovi

Paul Schrader's directorial debut examines the trials of Detroit autoworkers living at the mercy of a heartless corporation and a corrupt union. Surviving from paycheck to paycheck, Checker Cab assembly linemen Zeke (Richard Pryor), Jerry (Harvey Keitel), and Smokey (Yaphet Kotto) scrape by and take pleasure in a few rounds of beer or bowling (and occasional illicit amusements). But when their money troubles pile up, Jerry and Smokey join Zeke in a desperate plan to steal cash from their local union office. Along with a piddling $600, they unexpectedly swipe evidence of union corruption. Deciding to use it for blackmail, the men discover instead how powerfully malevolent the union can be in a system that counts on petty divisiveness to keep the larger power structure intact. Inspired by stories of real-life disillusionment, Schrader and his brother/co-writer Leonard Schrader took on politically difficult issues of race and corporate labor, infusing the indictment of unions with a suggestion of post-Watergate paranoia about forces beyond the union that keep workers in their place. From the opening sequence of the assembly line to the final evocative freeze-frame, Schrader maintains an atmosphere of gritty realism, with the lead trio lending low-key dramatic force to a situation beyond their control. Too downbeat for a late '70s audience increasingly drawn to happier fare, Blue Collar flopped, yet it did earn Schrader critical accolades. Although he has reportedly since disowned the film, Blue Collar remains one of Schrader's best works, with Zeke and Jerry powered by the same sense of simmering frustration that would explode so effectively in Affliction two decades later. ~ Lucia Bozzola, Rovi

Director Philip Kaufman took his production of Eskimo life to actual locations in the Arctic Circle, making it only the third film in history (after Nanook of the North and Eskimo) to shoot there. Kaufman also employs authentic Eskimo dialect in the film, which adds a heightened bit of realism. The story concerns three whalers -- Billy (Warren Oates), Daggett (Timothy Bottoms), and Portagee (Louis Gossett Jr.) -- who becomes stranded in the Arctic Circle and are rescued by a tribe of Eskimos. Living in the Eskimo village, the three men introduce the chief vices of their civilization -- gambling, thievery, and Western-style sex -- to the isolated Eskimo village. At first the natives put up with the behavior of the Westerners, but as their ways begin to encroach upon the traditional Eskimo customs, the villagers begin to resist the three men's habits. A clash of cultures results. ~ Paul Brenner, Rovi

Produced by Hollywood iconoclast BBS Productions, film critic-turned-director Peter Bogdanovich's 1971 film pays homage to Hollywood's classical age as it chronicles generational rites of passage in Anarene, a fictional one-horse Texas town. In 1951, high school seniors Sonny (Timothy Bottoms) and Duane (Jeff Bridges) play football, go to the movies at the Royal Theater, hang out at the pool hall owned by local elder statesman Sam the Lion (Ben Johnson), and lust after rich tease Jacy Farrow (Cybill Shepherd in her film debut). As the year passes, Sonny learns about the pitfalls and compromises of adulthood through an affair with his coach's wife Ruth (Cloris Leachman) and a thwarted elopement with Jacy after she dumps Duane. Following two tragic deaths, and with Duane gone to Korea and Jacy packed off to college in Dallas, Sonny is left behind in Anarene, wise enough to absorb the life lessons of Sam the Lion and Jacy's mother Lois (Ellen Burstyn). He is determined to honor Sam's legacy as the town's conscience, despite a telling sign of incipient communal disintegration: the closing of the Royal Theater after a final showing of Howard Hawks's Red River. Paying tribute to classical Hollywood directors like Hawks and John Ford, Bogdanovich used old-time cinematographer Robert Surtees and shot The Last Picture Show in crisp black-and-white, with a restrained style devoid of the kind of "new wave" techniques (jump cuts, zooms, and jittery hand-held camerawork) used by such contemporaries as Arthur Penn, Robert Altman, Mike Nichols, and Martin Scorsese. As in such Ford films as The Grapes of Wrath (1940), Bogdanovich relies on careful visual composition in deep focus to help communicate the regret over the passing of an era. Hailed as one of the best films by a young director since Citizen Kane (1941), The Last Picture Show premiered at the New York Film Festival and went on to become a hit. It was also nominated for eight Oscars, including Best Picture, Best Director and Best Screenplay for Larry McMurtry's and Bogdanovich's adaptation of McMurtry's novel. John Ford stalwart Johnson won Supporting Actor and Leachman won Supporting Actress, beating out their cohorts Bridges and Burstyn. For an audience steeped in movie history and caught up in the chaotic 1971 present, The Last Picture Show presented a nostalgic look backward that was not so much an escape from the present as a coming to terms with what the present had lost. Its 1990 sequel Texasville, in which Bridges and Shepherd played later incarnations of their original characters, was not as successful. ~ Lucia Bozzola, Rovi