Robert Joy Movies

Where has director Michael Anderson been since Logan's Run? Earning his keep on such slick TV-style time-fillers as Millennium. Kris Kristofferson plays the head of an official committee investigating the head-on collision of two commercial jets. A thorough analysis reveals the presence of a weapon of unknown origin in the wreckage; it is also pointed out that some of the victims' watches are running backwards. This, coupled with the cryptic warnings by flight attendant Cheryl Ladd to drop the investigation, prompts Kristofferson to burrow further and uncover the truth: Ladd is a sentinel from 1000 years in the future, who has come back to the 20th Century to help repopulate her dying civilization. Plot pegs and obstacles are in the hands of such sideline characters as enigmatic professor Daniel Travanti and amiable android Robert Joy. Millennium was adapted by John Varley from his own story Air Raid. ~ Hal Erickson, All Movie Guide

Made for television, Return of Hickey is the sequel to 1987's The Prodigious Mr. William Hicks. Both films were based on Owen Johnson's turn-of-the-century "Lawrenceville Stories." Zach Galligan returns as William "Hickey" Hicks, prep-school prankster supreme. Back at Lawrenceville after a period of suspension, Hickey intends to resume his agenda of elaborate practical jokes. This time, however, he is challenged by a imaginative new student (Nicholas Rowe), who has vowed to out-Hickey Hickey. Return of Hickey was originally telecast February 3, 1988, on PBS' American Playhouse. ~ Hal Erickson, All Movie Guide

In this drama, a wealthy young heiress endeavors to discover if her life does indeed have any meaning after she participates in a far-from-harmless parlor game at an exclusive costume party held in a grand old mansion. Sasha, the heiress, has fallen into a deep depression following the suicide of her brother and is strongly thinking about joining him when she goes to the party and begins playing a card game in which the winner's reward is a drink of deadly poison. Unfortunately, Sasha wins and must now reconsider her rashness. The plot is based on a story from Robert Louis Stevenson. ~ Sandra Brennan, All Movie Guide

This PBS American Playhouse presentation is based on one of the many "Lawrenceville Stories" by Owen Johnson (which also served as the basis of the 1950 MGM feature The Happy Years). Zach Galligan stars as William Hicks, something of a legend at turn-of-century Lawrenceville Boy's School because of his elaborate pranks and practical jokes. This term, however, uptight housemaster Tapping (Robert Joy) has vowed to catch young Hicks in the act of horseplay. "Hickey" considers this threat to be a flung gauntlet, and thus plans his most spectacular prank ever. ~ Hal Erickson, All Movie Guide

Loretta Swit stars as a French nun in the made-for-television Miracle at Moreaux. The time is the early 1940s, at the height of the Nazi occupation of France. At the risk of her own life, Loretta shelters three Jewish children in her Catholic schoolroom. Things become even riskier when the three kids request permission to celebrate Hannukah. Miracle at Moreaux debuted December 2, 1985, as part of PBS's Wonderworks series. ~ Hal Erickson, All Movie Guide

The early ups and later downs in the life of Joshua Shapiro (James Woods) more or less describe the trajectory of this semi-autobiographical film, adapted from the book by Mordecai Richler. Joshua is a Jewish Canadian writer who has returned from living in England for nearly three decades, only to see the major components of his life disintegrate around him. Flashbacks tell the tale of Joshua's childhood -- raised by a father who is an ex-boxer with a creative approach to earning a living (illegally) and a mother who earns her living as a stripper. Leaving this background and his coming-of-age behind him, Joshua flies off to England and gains a reputation as a writer, marrying a politically leftist but socially elite wife. On his return to Canada at the end of the '70s, everything around him collapses. His best friend dies, his brother-in-law kills himself, there is a smear campaign against him, and someone is out to blackmail him. Things only get worse, in fact, before they level off. ~ Eleanor Mannikka, All Movie Guide

In an uneasy blend of sci fi computer hokum and human miscreants at work, this story of suspicious deaths in a hospital is ominous on various counts but not likely to keep tension high-strung. Dr. Frank Holt (Joe Spano) has already had one malpractice suit that cost him a job, so when one of his patients dies under odd circumstances he is particularly interested in finding out why -- especially when that one case is followed by others. His former lover Anna (Diane Venora) is called in, along with the hospital's attorney (Don Francks) to help investigate the deaths and discover their cause. Meanwhile, it is slowly revealed that unethical staff are placing bets on the patients' diagnoses and how long they will live. When a good friend of Dr. Holt's becomes seriously ill, he is certain these deaths are not of natural causes, and the investigation heats up. ~ Eleanor Mannikka, All Movie Guide

The third installment in the haunted-house saga discards any pretense of being based on actual events in order to provide the requisite cheap thrills sought by audiences during the short-lived 3-D revival of the early '80s. When a skeptical reporter (Tony Roberts) with a penchant for debunking phony psychic hoaxes moves into the Long Island house to disprove its nightmarish legend, he and his family are set upon by all manner of supernatural beasties. Many such manifestations leap wildly out at the screen to fully exploit the 3-D effect, making the cheap gags all too obvious in the "flattened" video and cable prints (often released under the title Amityville 3: The Demon). Remarkably violent for a PG-rated film (those with an intense fear of fire might want to fast-forward through Candy Clark's death scene), Amityville 3-D has a certain cheesy appeal for anyone who likes touring Halloween spook-houses. Look closely to spot a young Meg Ryan in a small doomed-teen role. This 3-D version was followed by even more sequels, including Amityville: The Evil Escapes, Amityville 1992: It's About Time, The Amityville Curse, and Amityville: A New Generation. ~ Cavett Binion, All Movie Guide

Donald Sutherland plays a brilliant surgeon who becomes a media celebrity after performing an artificial-heart transplant. Jeff Goldblum, inventor of the ersatz heart, likewise basks in the glow of sudden fame. The only person to have reservations about the procedure is heart recipient Mare Winningham, who becomes depressed over the knowledge that she's not altogether human. Several ethical questions are raised and left unresolved; the film assumes that the audience is intelligent and perceptive enough to draw its own conclusions. Released in Canada in 1981, Threshold was not offered an American distribution until after the Barney Clark heart transplant of 1983. ~ Hal Erickson, All Movie Guide

E. L. Doctorow's novel Ragtime was a sprawling fictional account of American manners and mores in the years between 1900 and 1913. Among the mosaic of colorful factual and fictional characters in the novel were escape artist Harry Houdini and radical Emma Goldman. Both characters are all but eliminated in the film version, which only concentrates on three of Doctorow's many plot threads: The story of an immigrant artist (Mandy Patinkin) who becomes a movie director; the saga of "Gibson Girl" Evelyn Nesbit Shaw (Elizabeth McGovern), for whose sake playboy Harry K. Thaw (Robert Joy); kills architect Stanford White (Norman Mailer) and a lone black man's (Howard Rollins Jr.) quest for justice when his car is destroyed by a racist fire chief (Kenneth McMillan). This last subplot consumes most of the film's running time, to the overall detriment of the pacing. There are also several scenes involving an unnamed upper-middle-class family (headed by James Olson and Mary Steenburgen) who are evidently meant to be the audience's eyes and ears, but are frankly not terribly interesting. Back in 1981, Ragtime was given plenty of press coverage as the "comeback" picture for James Cagney, after twenty years in retirement. The problem is that Cagney's character (a police commissioner) isn't in the book, and his inclusion not only throws the story off balance, but necessitates the removal of several potentially interesting characters and events. Another detriment is the gratuitous (and illogical) nudity in the Evelyn Nesbit scenes, which earned the film its "R" rating. An ornate misfire, Ragtime is of interest today only for its remarkable cast of veterans and stars-to-be, including Pat O'Brien and Eloise O'Brien, Donald O'Connor, Debbie Allen, Moses Gunn, Jeff Daniels and Fran Drescher. ~ Hal Erickson, All Movie Guide