Paul Lewis Movies

Ben Hopkins' documentary 37 Uses for a Dead Sheep provides a warm, benevolent, and occasionally humorous glimpse at the lifestyles, mores, and background of the Pamir Kirghiz, a nomadic tribe from the central Asia. Because of their unswerving opposition to Communist ideologies, the Kirghiz were rejected by virtually every country on the Asian continent until they received international support and two alternate offers for permanent homes c. 1979, one in the eastern regions of Turkey and one, backed by the U.S., in Alaska. (The tribe chose the former.) Here, documentarist Hopkins teams up with Ekber Kutlu, a Kirghiz scholar and artist, and travels inside of the Kirghiz, for one of the first cinematic glimpses of this cultural unit. Within the film, Hopkins intercuts newly shot on-location documentary footage with dramatic reconstructions of events from the tribe's past (filmed in disparate styles), to provide a window into the Kirghiz experience over the course of time -- revealing the persistence and tenacity that older generations have projected in the face of massive obstacles, and the unbridled optimism of the younger as they anticipate future years. ~ Nathan Southern, All Movie Guide

In director Dennis Hopper's comedy reminiscent of The Last Detail, Rock Reilly (Tom Berenger), a gruff naval veteran who plays by the rules, arrives at a Marine base, in tow with his wheeler-dealer companion Eddie Devane (William McNamara), and finds himself assigned to escort the voluptuous Toni Johnson (Erika Eleniak) to military prison, Toni being sentenced from seven to ten years for assault and going AWOL. As in The Last Detail, the three service-persons get to know each other (in the case of Toni and Rock, they get to know each other intimately) as they make their way across the Southeastern seaboard to deliver Toni to prison. As they travel on, Toni repeatedly tries to escape from the two men as the trio encounters an array of guest-star cameos (Gary Busey, Seymour Cassel, Crispin Glover, Dean Stockwell, Frederic Forrest, and Marilu Henner -- among others). Even Hopper himself makes an appearance -- as a dirty old man with an inflatable date. ~ Paul Brenner, All Movie Guide

This hard-boiled throwback to the film noir dramas of the 1940s and '50s is directed by filmmaker and actor Dennis Hopper, based on the novel Hell Hath No Fury by Charles Williams. Don Johnson stars as Harry Madox, a drifter who settles in a small Texas town and begins secretly setting small fires, setting up his planned heist of the local bank run by eccentric Julian Ward (Jack Nance). To pay the bills while he puts his robbery scheme in motion, Harry gets a job working at a used car lot owned by the ailing George Harshaw (Jerry Hardin), whose promiscuous vamp of a wife, Dolly (Virginia Madsen), immediately begins a torrid affair with Harry. Harry's also powerfully attracted to the gorgeous Gloria Harper (Jennifer Connelly), an innocent, virginal secretary at the car dealership with a dark secret involving a creepy blackmailer, Frank Sutton (William Sadler). The Hot Spot also stars Charles Martin Smith, Barry Corbin, and Leon Rippy. ~ Karl Williams, All Movie Guide

Colors stars Robert Duvall and Sean Penn as partners on the LAPD's gang crime division. Duvall had hoped to spend more time with his family, but he's pulled back into active service because of a step-up in gang activity. He makes no secret of his contempt for his novice partner Penn, but eventually comes to rely on the younger man as a valuable street contact. The central crisis is the battle for supremacy between the "Crips" and the "Bloods", with every effort to call a truce stymied by the gang members themselves and by undue police intervention. ~ Hal Erickson, All Movie Guide

Presented by Britain's Granada Television, the weekly anthology Time for Murder consisted of six hour-long dramas with the emphasis on mystery and mayhem. Among the authors represented herein were such literary heavyweights as Fay Weldon and Antonia Fraser. Individual episode titles include "The Murders at Lynch Cross", "This Lightening Always Strikes Twice", "The Thirteenth Day of Christmas," and more. Time for Murder originally aired in 1985. ~ Hal Erickson, All Movie Guide

Out of the Blue captures the turbulence of youth culture of the early '80s by presenting a three-person nuclear family that is about to implode. In a prologue, Don Barnes (Dennis Hopper), a school bus driver, is drunkenly distracted one day behind the wheel, resulting in a horrible accident. He comes home from a stint in prison to find his wife, Kathy (Sharon Farrell), hooked on drugs and his now-teenaged daughter, Cindy (Linda Manz), sullen and remote. Don's old buddies are a fun-loving bunch who work only to afford to get high and party, and he seems to be falling back into his old ways instead of getting straight and pulling his family out of their funk. The story focuses on Cindy's alienation from both her parents and most of her classmates. She's influenced by the energy and anger of punk music and considers her parents pathetic relics of the '60s counterculture. Hopper reportedly took over direction of the film after co-producer/co-writer Leonard Yakir departed the production. It was Hopper's first job behind the camera since The Last Movie, his legendary flop follow-up to Easy Rider. ~ Tom Wiener, All Movie Guide

A teenager tries to win the girl of his dreams with the hottest van in town in this '70s sex comedy. Bobby (Stuart Goetz) has just graduated from high school, but he's too preoccupied with girls to think much about his future. Bobby hasn't had much luck with the ladies, and he's convinced it's because of his lack of cool wheels, so after months of slaving at a car wash owned by Andy (Danny DeVito), he blows the money he'd been saving for college on a down payment on his dream machine: a canary yellow custom Dodge van, a bachelor pad on wheels complete with mirrored ceiling, 8-track stereo, television monitors, and (natch) a waterbed. Bobby turns his attentions to class hottie Sally (Connie Lisa Marie), who happens to be dating ill-tempered bully Dugan (Steve Oliver), while his buddy Jack urges him to date the more available Sue (Marcie Barkin), who's friends with his girlfriend, Tina (Deborah White). Andy uses the car wash as a front for his bookmaking business, and when a few bets don't go his way, he asks Bobby to lend him some money. Bobby gives Andy the cash he'd earmarked for his next payment on the van, but when Andy can't pay him back, Bobby's new van may be soon be in the hands of the repo man. ~ Mark Deming, All Movie Guide

A man feels obligated to hijack the plane his boss is on after he has gambled himself into overwhelming debt. ~ Kristie Hassen, All Movie Guide

With Howard Hawks's Bringing Up Baby (1938) as his blueprint, Peter Bogdanovich resurrected and payed homage to 1930s screwball comedy in What's Up, Doc? (1972). When wacky co-ed Judy Maxwell (Barbra Streisand, in the Katharine Hepburn part) spies nebbishy musicologist Howard Bannister (Ryan O'Neal in bespectacled Cary Grant mode) in a San Francisco hotel lobby, she decides that Howard and his precious igneous rocks are right up her alley. Too bad Howard already has a fiancée, the propriety-fixated Eunice (Madeline Kahn in her film debut). Using all her arcane knowledge from brief stays at numerous colleges, Judy tries to charm her way to a $20,000 grant for Howard, and Howard himself, at a banquet with grantor Frederick Larrabee (Austin Pendleton). Things get even more complicated the next day when Judy's underwear-filled overnight bag gets mixed up with Howard's rock bag, which gets mixed up with Mrs. Van Hoskins' bag of jewels, which gets mixed up with Mr. Smith's bag of top secret government papers. All sides converge at Larrabee's mod townhouse and the chase begins. Retaining Hawks' machine-gun pace (as well as the sly pop culture referentiality of Billy Wilder), Bogdanovich and writers Buck Henry, David Newman, and Robert Benton updated the opposites-attract screwball convention for contemporary times. O'Neal gently parodied not only Grant but also his own Love Story (1970) preppy, while Kahn represents stiff-wigged 1950s manners as opposed to Streisand's long-haired, pants-wearing free spirit. The happy ending, in which Cole Porter-belting youth wins out over old manners, found favor with audiences, as What's Up, Doc? became one of the most popular films of 1972, and the second hit in a row for Bogdanovich after 1971's The Last Picture Show. ~ Lucia Bozzola, All Movie Guide

With a barrage of cinematic distancing devices at hand (flashbacks and flash-forwards, super-imposed titles, missing frames, projectionist cue-marks placed in the wrong locations in a film reel), Dennis Hopper concocts a hallucinatory acid-trip concerning an American movie company making a western in Peru. In a remote mountain village in Peru, a Hollywood film company wraps up shooting a western and returns to California. Staying behind is a young stunt man, Kansas (Dennis Hopper). In the village, he takes up with the resident whore, Maria (Stella Garcia). At this point, the film flash-forwards to Kansas being crucified by the villagers. Back in the old time frame, the Peruvians decide that they want to make their own movie. Not having the necessary film equipment, but plenty of local raw material, the villagers construct the needed cameras, microphones, and sound recorders out of bamboo, and although the equipment is faked, the villagers substitute real, bloody violence for the make-believe violence of Hollywood. During this eruption of violence in the Peruvian village, the local priest (Tomas Milian) blames Kansas for the carnage. The priest decides that movies are the root of all worldly evil and convinces the villagers to seize Kansas. ~ Paul Brenner, All Movie Guide

Tossing wristwatches away, two bikers hit the road to find America in Dennis Hopper's anti-establishment classic. After a major cocaine sale to an L.A. connection (Phil Spector), free-wheeling potheads Billy (Hopper) and Wyatt, aka Captain America (Peter Fonda, who also produced), motor eastward to party at Mardi Gras before "retiring" to Florida with the riches concealed in Wyatt's stars-and-stripes gas tank. As they ride through the Southwest, they take a hitchhiker (Luke Askew) to a struggling hippie commune before they get thrown in a small-town jail for "parading without a permit." Their cellmate, drunken ACLU lawyer George Hanson (Jack Nicholson, replacing Rip Torn), does them a "groovy" favor by getting them out of jail and then decides to join them. Babbling about Venusians, George discovers the joys of smoking grass, but an encounter with Southern rednecks soon proves how right he is about the danger posed by Billy's and Wyatt's unfettered life in a country that has lost its ideals. With the straight world closing in, Wyatt and Billy try to revel in New Orleans with some LSD and hookers (Karen Black and Toni Basil), but the acid trip is shot through with morbidity. Once they reach Florida, Billy raves about attaining the American dream; Wyatt, however, knows the truth: "We blew it."

Produced and directed by two Hollywood iconoclasts with under a half-million non-studio dollars, Easy Rider shook up the languishing movie industry when it grossed over 19 million dollars in 1969; it captured the spirit of the times as it woke Hollywood up to the power of young audiences and socially relevant movies, along with such other landmarks of the late '60s as Bonnie and Clyde, The Graduate, and 2001. Shot on location by Laszlo Kovacs, Easy Rider eschewed old-fashioned Hollywood polish for documentary-style immediacy, and it enhanced its casual feel with improvised dialogue and realistically "stoned" acting. With a soundtrack of contemporary rock songs by Jimi Hendrix, the Band, and Steppenwolf to complete the atmosphere, Easy Rider was hailed for capturing the increasingly violent Vietnam-era split between the counterculture and the repressive Establishment. Experiencing the "shock of recognition," youth audiences embraced Easy Rider's vision of both the attractions and the limits of dropping out, proving that audience's box-office power and turning Nicholson into a movie star. The momentarily hip Academy nominated Nicholson for the Best Supporting Actor Oscar, and Fonda, Hopper, and Terry Southern for their screenplay. Though none of its imitators would match its impact, Easy Rider remains one of the seminal works of late '60s Hollywood both for its trailblazing legacy and its sharply perceptive portrait of its chaotic times. ~ Lucia Bozzola, All Movie Guide

In this experimental mystery film, a young woman is arrested for killing a burglar. A lovesick detective gets her acquitted. Later her older sister vanishes. Her cruel father gets even worse and so she runs away to the zoo where she falls into the bear exhibit. Just before she is to become a grizzly's tasty snack, the woman is rescued. ~ Sandra Brennan, All Movie Guide