Daniel Melnick Movies

The events of 1977 and 1978 permanently marred director Roman Polanski's life. Accused of unlawful sexual assault on minor Samantha Geimer during his stay at actor Jack Nicholson's house in March of 1977, Polanski wound up in the midst of controversial judicial proceedings that many read as supremely unfair. After being temporarily sprung on 2,500 dollars bail, Polanski then fled the United States for Europe in 1978, with the threat of incarceration hanging over him should he ever return. With her documentary Roman Polanski: Wanted and Desired, filmmaker Marina Zenovich revisits this difficult case via extensive interviews with Geimer, defense attorney Douglas Dalton, Assistant DA Roger Gunson, and others. In the process, she raises pivotal questions about the U.S. legal system and the fairness of the judge, Laurence J. Rittenband (who was reportedly extremely vocal about his desire to topple Polanski) and encounters many recollections of judicial malfeasance from those who were involved. ~ Nathan Southern, Rovi

Jean-Claude Van Damme returns as cybernetic warrior Luc Deveraux in this sequel to the 1992 action hit. After barely surviving his experiences as a part-human/part-robot Universal Soldier, Luc has opted to stay out of the front lines and work with a military project to refine and perfect the system. However, something goes wrong (as they so often do in films like this), and S.E.T.H. (Michael Jai White), the android supercomputer leading the new breed of soldiers, suddenly develops a murderous mind of his own. Soon S.E.T.H. is leading his fellow war machines on a rampage, and Luc is the only one who can stop them. The supporting cast includes Heidi Schanz and wrestling star Bill Goldberg. ~ Mark Deming, Rovi

Steve Martin wrote and stars in this look at the promise and dreamtime of Los Angeles culture. Martin stars as Harris K. Telemacher, a light-hearted television weatherman who does wacky comedy in lieu of reports since, being in L.A., he has very little weather to report. He spends his time roller-skating through museums and spending time with California's beautiful people. But Telemacher is fired and discovers that his girlfriend Trudi (Marilu Henner) is having an affair. He walks away from the relationship and re-evaluates his life, getting advice from a friendly electronic highway road sign. The sign suggests that he call SanDeE (Sarah Jessica Parker), a sprightly and attractive Valley Girl he met in a clothing store. With SanDeE he experiences a liberating and carefree spirit. But Telemacher comes to realize that he has actually fallen in love with Sara (Victoria Tennant), a tuba-playing British journalist who is in California to do a feature on Los Angeles lifestyles. ~ Paul Brenner, Rovi

Mel Gibson and Robert Downey Jr. play a couple of what-the-hell flyboys flying contraband to Laos during the Vietnam War. Gibson doesn't seem to care about anything but the "guts and glory" aspects of the job, but Downey has serious questions about the moral implications of their mission. When a Laotian general expresses more concern over the wellbeing of an opium shipment than the men who are risking life and limb to fly it in, Gibson comes around to Downey's way of thinking. By film's end, Gibson is stuck in one of those character-building dilemmas so common to films of this nature: should he deliver his cache of weaponry, or should he dump it all to rescue a bunch of refugees? ~ Hal Erickson, Rovi

Sally Field goes the Roseanne route in Punchline. Field plays a housewife and mother who suddenly develops the urge to be a comedienne. Her comic instincts are on target, but her timing and delivery stinks. Tom Hanks, a stand-up comic with a few years' experience under his belt, offers to teach Field the ropes. As they get to know each other, Hanks and Field begin to pick up on each other's shortcomings; though Hanks has far more talent than Field, for example, he has a positively ruinous habit of expressing his deep-down dislike of everyone else in the world, and this frequently alienates his audience. Writer-director David Seltzer times Punchline like a good joke; he continually sets up for the expected, then pulls a last-minute fast one, keeping the film lively and unpredictable throughout. The supporting cast, coincidentally including future Roseanne star John Goodman, is uniformly superb. ~ Hal Erickson, Rovi

In this underscripted and not wholly convincing drama, Kevin Bacon plays Jack Casey, an up-and-coming broker who crashes on the stock market one day and cashes in whatever he has left to become a bicycle messenger in San Francisco. Although not exactly a logical alternative, bicycling the hilly streets of S.F. turns out to be dangerous after Casey runs into Gypsy (Rudy Ramos), the street pusher who has the messengers run drugs for him. A series of characters and events drop in and out of the conflict between Gypsy and Casey, including love interest Terri (Jami Gertz) and Casey's friend Hector (Paul Rodriguez). Music dominates throughout the film which includes scenes of breakdancing on bikes. ~ Eleanor Mannikka, Rovi

This remake of the 1948 Preston Sturges classic stars Dudley Moore as the symphony conductor who imagines ways to get back at the wife he believes is unfaithful to him. Moore plays Claude Eastman, the conductor of a prestigious sympathy, who suspects that his actress wife Daniella (Nastassja Kinski) is fooling around behind his back with the orchestra's handsome soloist, Maxmillian Stein (Armand Assante). The tip comes courtesy of Norman Robbins (Albert Brooks), Daniella's brother. As Claude is conducting a symphony, an elaborate plot plays out in his head -- he will murder his unfaithful wife to get revenge on her. The plot is simpler and more straightforward than the original version, in which the conductor harbored three separate elaborate fantasies. ~ Michael Betzold, Rovi

In this 1980 sci-fi horror film, William Hurt plays Eddie Jessup, a scientist obsessed with discovering mankind's true role in the universe. To this end, he submits himself to a series of mind-expanding experiments. By enclosing himself in a sensory-deprivation chamber and taking hallucinogenic drugs, Jessup hopes to explore different levels of human consciousness, but instead is devolved into an apelike monster. Director Ken Russell helmed Altered States from a script by Paddy Chayefsky, who adapted his own novel of the same name. Unhappy with the finished product, Chayefsky had his name replaced with his pseudonym Sydney Aaron. ~ Matthew Tobey, Rovi

"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, Rovi

It's ironic that MGM, in such dire financial straits in 1974 that it was selling its fabled back lot and auctioning off artifacts from past movie triumphs, enjoyed one of its biggest box-office hits with That's Entertainment, a compilation of musical highlights from the studio's golden days. Onscreen hosts Fred Astaire, Bing Crosby, Gene Kelly, Peter Lawford, Liza Minnelli, Donald O'Connor, Debbie Reynolds, Mickey Rooney, James Stewart, and Elizabeth Taylor introduce the various film clips while standing on what was left of the MGM lot (Rooney delivers his comments from the Andy Hardy street). The vignettes, in both color and black-and-white, include generous slices of such classic MGM songfests as The Wizard of Oz, Meet Me in St. Louis, An American in Paris, Singin' in the Rain, and Gigi. The film includes the montage of Mickey Rooney's "Let's put on a show!" speeches, Clark Gable hoofing to "Puttin' on the Ritz" in Idiot's Delight, and James Stewart (!) serenading Eleanor Powell from Easy to Love. Assembled by Jack Haley Jr., That's Entertainment proved such a hit that the 1976 sequel, That's Entertainment II, was a foregone conclusion. ~ Hal Erickson, Rovi

Sam Peckinpah examines the instinctual capacity for violence in his controversial 1971 film, loosely based on the novel The Siege of Trencher's Farm. To avoid the Vietnam-era social chaos in the U.S., American mathematician David Sumner (Dustin Hoffman) moves with his British wife, Amy (Susan George), to the isolated Cornish town where she grew up, but their presence provokes antagonism among the village's men. As the hostilities escalate from routine bullying to the gang rape of his wife, David finds his pacifistic self backed into a corner. When the hooligans attack his house, David finally resorts to the gruesome violence that he abhors. ~ Lucia Bozzola, Rovi