Frank Marshall Movies

Fun with Dick and Jane's Dean Parisot helms this redo of the raunchy 1977 Paul Newman classic hockey comedy with this Universal Pictures production. Peter Steinfeld provides the script for the laugher, which will once again focus on a minor-league hockey team and its coach's decision to turn to rough-and-tumble tactics in order for them to win. ~ Jeremy Wheeler, All Movie Guide

Acclaimed director Peter Bogdanovich updates his 1971 documentary Directed by John Ford for this film of the same name, produced for the Turner Classic Movies cable network. Using old interviews with the likes of John Wayne and Henry Fonda along with new ones with modern film giants like Steven Spielberg and Clint Eastwood, Bogdanovich crafts an informative tribute to one of Hollywood's most beloved and influential directors. ~ Matthew Tobey, All Movie Guide

The funny side of sports fandom provides the common element for two stories in this made-for-cable anthology feature. In the first segment, based on a short story by Don Marquis, a golfer (Bob Newhart) looks like he's about to break 100 for the first time, but his partner (Kelsey Grammer) keeps insisting upon following every rule in the book, much to his friend's annoyance. The second story is based on 1968's real-life "Heidi Bowl" incident, in which NBC-TV's broadcast of a hard-fought game between the New York Jets and the Oakland Raiders, which seemed likely to determine the AFL championship, was cut off --with 65 seconds left to play and the score at 32-29 -- in order to begin a scheduled showing of a made-for-TV movie based on the classic children's story Heidi. Eugene Levy plays a network control room supervisor, Ellie Harvie appears as a NBC switchboard operator trying to handle the sudden influx of angry calls, Gary Basaraba plays her husband, who is watching the game at home with friends, and John Kapelos is a bookie with a lot of money riding on the game. Fox-TV sports commentator James Brown hosts the two-part film, which was produced for the Showtime premium cable network. ~ Mark Deming, All Movie Guide

President John F. Kennedy issued the challenge to America in a speech to Congress in 1961: Land a man on the moon within the decade. This HBO mini-series, produced by Tom Hanks, chronicles the story of NASA's efforts to carry out the vision. In episode six, the goal is in sight, as astronauts Michael Collins, Neil Armstrong, and Buz Aldrin take off on a historic flight to the moon, and Neil Armstrong makes that "one small step for a man" onto the moon's surface. ~ Rose of Sharon Winter, All Movie Guide

Opus n' Bill in: A Wish for Wings That Work, adapted from the comic strip Bloom County, concerns the plans of Bill the Cat to help his friend Opus the Penguin achieve his dream of flying. ~ Perry Seibert, All Movie Guide

Things have barely settled from the excitement and resolve of the original Back to the Future, when in pops that crazy inventor Dr. Emmett Brown (Christopher Lloyd) with news that in order to prevent a series of events that could ruin the McFly name for posterity, Marty McFly (Michael J. Fox ) and his girlfriend are whisked into the future to the year 2015, where Marty must tangle with a teen rogue named Griff, who's obviously the descendant of Biff, the first Future film's bully. Marty foils Griff and his group when he jumps on an air-foil skateboard that flies him through town at rakish speeds with the loser bullies beaten again. Marty gets a money-making brainstorm before hopping in the time-traveling DeLorean, and he purchases a sports almanac. He figures that back in 1985 he'll be able to place sure-fire bets using the published sports scores of the games that are yet to happen. Unfortunately for Marty, Dr. Brown disapproves of his betting scheme -- he feels too much messing with time is very dangerous -- and he tosses the almanac. A hidden Biff overhears the discussion about the almanac, sees it get tossed out, and grabs it. Thus begins a time-traveling swirl to make the head spin. Biff swipes the DeLorean, heads back to 1955, and with the help of the unerring almanac, bets his way to power. The now-altered "Biff world" has turned into a nightmarish scene with Biff the mogul, residing in a Vegas-styled pleasure palace and running everything. It's all our hero Marty can do to pull the pieces together this time, as he must jump between three generations of intertwined time travel. The end of Back to the Future, Part 2 introduces its sequel as the zany professor has already time-dashed away to the Wild West of the late 1800s and invites Marty into a new adventure. ~ All Movie Guide

For all its state-of-the-art special effects, Always is essentially a remake of the 1943 Spencer Tracy-Irene Dunne fantasy vehicle A Guy Named Joe--minus the wartime context. Richard Dreyfuss stars as a reckless fire-fighting pilot who is killed in what was to have been his final mission. Ascending to Heaven, Dreyfuss is introduced to businesslike angel Audrey Hepburn (playing the equivalent of the Lionel Barrymore role in A Guy Named Joe). Hepburn instructs the spectral Dreyfuss to pass on his aviation knowhow to his young successor, Brad Johnson. Our ghostly hero also smoothes the course of romance for his earthly girl friend Holly Hunter, who after several months' worth of grieving has fallen in love with Johnson. John Goodman injects a dose of comedy relief as Dreyfuss' faithful buddy. ~ Hal Erickson, All Movie Guide

An American Tail is a beautifully rendered animated flim that tells an overly familiar story in terms children can easily understand. Fievel Mousekewitz and his family of Russian-Jewish mice escape from their homeland in the late 1800s, boarding a boat headed toward America to evade the Czarist rule of the Russian cats. Fievel, however, is separated from his family upon his arrival in New York City, and he discovers to his horror that there are cats in America too (his father said there weren't). Fievel meets his share of friendly and hostile mice, and he eventually befriends a cat as well. Former Disney animator Don Bluth co-produced and directed this often heartwarming yarn, the first animated feature presented by Steven Spielberg, and it has its charms despite a number of cliché situations. ~ Don Kaye, All Movie Guide

Together with Orson Welles' Citizen Kane and John Singleton's Boyz 'n the Hood, director Peter Bogdanovich's Targets is among the most impressive first features ever made. When Bogdanovich's cinematic mentor Roger Corman suggested that Bogdanovich might want to make his directorial debut, he offered to "donate" 20 minutes' worth of footage of the Corman-directed The Terror and the services of Boris Karloff, who owed Corman two days' worth of work (at a cost of 22,000 dollars). Karloff became so caught up in the 29-year-old Bogdanovich's enthusiasm that he agreed to work an additional two days at a bare-minimum salary.

The script, by Bogdanovich and his then-wife, Polly Platt, was inspired by the 1966 shooting spree of Texas Tower sniper Charles Whitman. Karloff, as Byron Orlock, more or less plays himself: an aging horror star, consigned to low-budget drive-in fare. Unlike the workaholic Karloff, Orlock wants to retire from films, noting that his movies seem inconsequential in light of the real-life horrors occurring every day. As Bogdanovich, playing young-and-hungry director Sammy Michaels, desperately tries to convince Orlock to star in just one more picture, the film's attentions shift to Vietnam veteran Bobby Thompson (Tim O'Kelly). An otherwise amiable, normal-looking lad, Bobby seems to harbor an inordinate fascination with guns, particularly high-powered rifles. One bright and sunny morning, Bobby suddenly and unexpectedly shoots and kills his wife, his mother, and an unlucky delivery boy. He leaves behind a note confessing to these crimes, noting that, while he fully expects to be captured, many more will die before the day is over. From this point onward, the film switches from Bobby's day-long bloodbath (from the vantage point of an oil storage tank, calmly picking off passing freeway motorists) to Orlock's grumbling preparations to make a personal appearance at a local drive-in movie.

Inevitably, Bobby also shows up at the drive-in, hiding himself behind the huge screen and shooting down the patrons as they sit complacently in their cars, watching the latest Byron Orlock film (actually The Terror, in which Karloff also starred). Once the reality of the situation sets in, panic ensues, leading to the ultimate confrontation between the escaping Bobby and the bewildered Orlock. ("Is this what I was afraid of?" Orlock ruefully exclaims as Bobby cowers at his feet.) The tension never lets up throughout Targets' jam-packed 90 minutes. The film was virtually thrown away by its distributor, Paramount Pictures, which was uncertain about packaging a film about a sniper in the wake of the King and Kennedy assassinations. Only when it was reissued to college campuses and film societies did Targets begin building up its much-deserved reputation. Though Targets was not, technically, Boris Karloff's last film, it serves as a worthy valedictory for this cinematic giant. ~ Hal Erickson, All Movie Guide

This is the first mainstream film to deal with the harrowing true story of a Uruguayan rugby team whose plane crashed in the Andes mountains in October of 1972 and who were forced to resort to cannibalism to survive more than two months of isolation. (The only other film to tackle the subject, Rene Cardona's Survive! was a seedy little mess that delighted in exploiting the cannibalism aspect.) The events depicted are primarily based on the novel of the same name by Piers Paul Read. The interview-style prologue features an uncredited John Malkovich as one of the survivors, whose spiritual ruminations on the disaster kick off the film's main action. We are briefly introduced to the characters before disaster strikes, in the film's most horrifying set-piece -- the depiction of the crash in grueling detail. The handful of survivors who manage to extricate themselves from the twisted wreckage seem incapable of working through their panic as they hope against all odds that a rescue party will locate them. One of the survivors, Nando (Ethan Hawke), awakens from a coma and makes a remarkable recovery -- enough to demonstrate level-headed leadership after team captain Antonio (Vincent Spano) begins to lose his nerve. As the weeks wear on and rations are depleted, the survivors are forced into a moral dilemma: the only remaining source of food seems to be the bodies of the dead. Those who choose for religious reasons not to consume their former companions must face the realization that they will soon starve or freeze to death. In the end, three men who choose survival above all else find the strength to set out on a treacherous mission to a ridge, where hopefully one of them will make it to civilization. Director Frank Marshall infuses the proceedings with sufficient intensity to keep the story moving, but the film fails to fully explore the often-recounted spiritual aspects of the ordeal as established in the opening monologue. Ironically, the writers' apparent attempts to remain true to Read's account of events -- resulting in some rather odd stretches of dialogue -- impede the drama even more than the Hollywood glamorization of the story's nominal "heroes," who remain rugged and handsome despite months of malnutrition and severe frostbite. ~ Cavett Binion, All Movie Guide

Walter Hill's hip, super-stylized action film unfurls in a dystopian near-future, when various gangs control New York City. Each gang sports a unique moniker ('The Warriors,' 'The Baseball Furies,' 'The Rogues'), with a costume underscoring its "theme"; each, in turn, is also responsible for one geographic area. Hill sets up the landscape as a massive, violent playground - replete with bridges, vacant subway tunnels, parks, abandoned buildings and the like, all ripe for exploration and adventure. As the tale opens, the titular Coney Island has traveled to the Bronx to attend a city-wide meeting of all gangs; at that event, however, the psychotic leader of a rival gang, The Rogues (David Patrick Kelly of Dreamscape) assassinates the head of the city's foremost gang, but The Warriors are pegged as culpable. This sends the gang fleeing through the labyrinthine city. With every thug in Manhattan in vicious, homicidal pursuit, they must also overcome all obstacles in their way. Throughout, Hill keeps the onscreen violence absurd, exaggerated and unrealistic, downplaying death to an extreme degree; despite this fact, the film sparked a massive amount of controversy and an ugly backlash for allegedly inciting violence and destruction in several theaters where it initially played. James Remar, Michael Beck and Deborah Van Valkenburgh lead the ensemble cast. ~ Nathan Southern, All Movie Guide