Sam O'Steen Movies

Jack Nicholson becomes a werewolf in this bizarre comedy-horror film directed by Mike Nichols. Nicholson plays Will Randall, a book editor with a testosterone deficit who has just been sacked at his publishing firm by a new boss, Raymond Alden (Christopher Plummer). A colleague, Stewart Swinton (James Spader), whom Randall thought was his friend, betrays him. Randall's personality changes after he hits a wolf with his car and gets bitten by the creature. He immediately feels more powerful, has heightened hearing and vision, and sets about to right the wrongs in his life. He visits Alden at the publisher's mansion to protest his dismissal, and he is asked to leave -- but Alden's daughter Laura (Michelle Pfeiffer) asks him to stay for lunch. Laura loves to defy her father. Will tells her about the wolf bite, and she becomes attracted to him. But because werewolves usually kill the ones they love, Laura is in danger. Will reasserts his place in the publishing world, supported by his loyal secretary Mary (Eileen Atkins), and his relationship with Laura deepens. ~ Michael Betzold, Rovi

Combining elements of A Christmas Carol and Rain Man (1988), this modern-day parable of greed and redemption was crafted with generous helpings of sentimentality by director Mike Nicholas. Harrison Ford stars as Henry Turner, a slick, ruthless corporate attorney willing to spin any falsehood to win a case. A bully to his teenage daughter Rachel (Mikki Allen), Henry also cheats on his wife Sarah (Annette Bening) and treats everyone from the maid to his assistant with cruel selfishness. Stepping out to a local mini-market for a pack of cigarettes late one night, Henry accidentally interrupts a burglary and is shot in the head by a stick-up artist. After a long coma, Henry survives only to find that he has no memory and must re-learn everything from reading to tying his shoes. Reborn as a friendly, childlike innocent, Henry charms his therapist (Bill Nunn) and reconnects with his wife and daughter, only to uncover some secrets about how truly appalling he once was. ~ Karl Williams, Rovi

Schoolteacher Ben du Toit (Donald Sutherland) has been insulated all his life from the horrors of apartheid in his native South Africa. Perhaps he really didn't want to know. When the son of his black gardener is arrested and beaten as a result of a schoolboy protest in Soweto, at first he imagines the police must have had their reasons. However, the boy is picked up again, and this time he doesn't come back. Ben promises his servant that he will look into the incident, and discovers that the boy was killed simply to gratify the violent urges of Captain Stolz (Jurgen Prochnow), a "special branch" policeman. At long last he has gotten a glimpse into the truly arbitrary and violent nature of the system he has so long benefitted from, and he hires Ian Mackenzie (Marlon Brando) to prosecute the killer. It is a foregone conclusion that Stolz will not be punished, but Mackenzie rises to new heights of withering sarcasm and irony in the courtroom. This situation turns Ben into a radical firebrand, which alienates him from his white friends and neighbors, as well as members of his family. ~ Clarke Fountain, Rovi

Biloxi Blues was the second of playwright Neil Simon's semi-autobiographical trilogy (number one was Brighton Beach Memoirs; number three, Broadway Bound). Matthew Broderick stars as Simon's alter ego Eugene Morris Jerome, who is drafted and shipped off to boot camp in Biloxi, Mississippi in the waning days of World War II. Eugene is at the mercy of near-psychotic drill sergeant Toomey (Christopher Walken), who seems to have a personal vendetta against the poor schlemiel (Toomey also has all the film's best lines). While sweating out basic training, Eugene is indoctrinated into manhood by local prostitute Rowena (Park Overall). The film version of Biloxi Blues retains the wit and poignancy of the theatrical original--except towards the end, which pointlessly emphasizes a showdown between Eugene and Toomey. ~ Hal Erickson, Rovi

A woman trying to keep a momentary indiscretion quiet finds herself in more trouble than she ever imagined in this comedy written and directed by Robert Benton. Nadine Hightower (Kim Basinger), who is significantly more beautiful than intelligent, is fast-talked into posing for some cheesecake pictures by sleazy photographer Raymond Escobar (Jerry Stiller). When Nadine learns that Escobar plans to use the pictures for a set of racy playing cards, Nadine decides to steal the photos back, and she enlists the help of her soon-to-be-former husband Vernon (Jeff Bridges), who is already engaged to the winner of a local beauty pageant. In the midst of the robbery, intruders shoot and kill Escobar in the next room; Nadine and Vernon grab an envelope marked "Nadine" and make tracks. But the envelope doesn't contain any photos; instead, there are plans for a road to be built in town that reveal dirty dealings by local politicians, and now Nadine and Vernon are on the run from both Escobar's killers and land baron Buford Pope (Rip Torn). Popular country and western group Sweethearts of the Rodeo perform several tunes for the film's soundtrack. ~ Mark Deming, Rovi

Kids Don't Tell stars Michael Ontkean as a free-lance documentary filmmaker. Concerned over the increasing sexual abuse of children, Ontkean hopes to make a film on the subject, with the cooperation of the local police and social services. For reasons unknown, Ontkean's wife JoBeth Williams becomes surly and distant as he continues work on his film. It turns out that JoBeth is far more intimately familiar with the subject of sexual abuse than she's ever let on (hence the film's title). Made for television, Kids Don't Tell handles its subject matter with an admirable absence of sensationalism, thanks to the low-key script by Peter Silverman and Maurice Hurley. ~ Hal Erickson, Rovi

Delving into the horrific history of the infamous Long Island haunted house, this prequel to 1979's popular chiller The Amityville Horror is loosely based on the DeFeo murders but is at heart a straightforward horror-exploitation film with an Exorcist twist. When the violently dysfunctional Montelli family moves into the rustic abode (claimed to have been built on an Indian burial ground), the standard haunted-house clichés (bleeding walls, swarms of flies, bubbling black goop) give way to a more direct demonic attack on the eldest son -- who develops an unhealthy interest in his nubile younger sister, followed by a much more lethal attraction to dad's shotgun. In a desperate attempt to purge the evil, the local priest tries to perform an exorcism...with unexpected results. ~ Cavett Binion, Rovi

This film showed up on TV as Forbidden Paradise, but you can't fool us. It's really The Hurricane, producer Dino De Laurentiis' ill-advised remake of the 1938 Sam Goldwyn production of the same name. The story of the casual cruelties imposed by the white ruling class on the natives of the isle of Manakoora had the advantage of timeliness in 1938; forty-one years later, the story plays like a Gilligan's Island amateur production of Uncle Tom's Cabin. Playing the old Jon Hall role of the native lad whose rambunctiousness incurs the wrath of the provincial governor, the uniquely ungifted Daton Kane makes Hall look like Sir John Gielgud. Even the expensive hurricane finale (which ate up most of the film's $22 million budget) isn't one-tenth as exciting as the corresponding sequence in the earlier film. The saddest aspect of the 1979 The Hurricane is that it was directed by Jan Troell, who showed flashes of brilliance in his earlier The Emigrants and Zandy's Bride; perhaps significantly, Troell hightailed it back to Sweden after wrapping up his obligation to Dino De Laurentiis. ~ Hal Erickson, Rovi

In this unsold TV-series pilot film, six former circus performers pool their individual talents for a daring daylight jewel heist. Ostensibly nothing more than common thieves, the six protagonists are actually acting from the noblest motives. If they are able to swipe a rare Latin American artifact known as "The Mask of the Sun" from a Washington D.C. embassy, they will (hopefully) be able to ransom a group of American medical missionaries who have been sentenced to a firing squad. Victor Buono stars as Sebastian, the leader of the co-ed criminal team. High Risk originally aired over ABC on May 15, 1976, in tandem with another "busted pilot," Panache. ~ Hal Erickson, Rovi

This sequel to the smash hit chiller Rosemary's Baby (1968) chronicles the childhood of Rosemary's demon spawn. The still distraught mother, whose husband sold his soul, thus allowing Satan himself to father her child, is helped out by her charming neighbors the devil worshippers. The film is also titled Rosemary's Baby II. ~ Sandra Brennan, Rovi

"You may think you know what you're dealing with, but believe me, you don't," warns water baron Noah Cross (John Huston), when smooth cop-turned-private eye J.J. "Jake" Gittes (Jack Nicholson) starts nosing around Cross's water diversion scheme. That proves to be the ominous lesson of Chinatown, Roman Polanski's critically lauded 1974 revision of 1940s film noir detective movies. In 1930s Los Angeles, "matrimonial work" specialist Gittes is hired by Evelyn Mulwray (Faye Dunaway) to tail her husband, Water Department engineer Hollis Mulwray (Darrell Zwerling). Gittes photographs him in the company of a young blonde and figures the case is closed, only to discover that the real Mrs. Mulwray had nothing to do with hiring Gittes in the first place. When Hollis turns up dead, Gittes decides to investigate further, encountering a shady old-age home, corrupt bureaucrats, angry orange farmers, and a nostril-slicing thug (Polanski) along the way. By the time he confronts Cross, Evelyn's father and Mulwray's former business partner, Jake thinks he knows everything, but an even more sordid truth awaits him. When circumstances force Jake to return to his old beat in Chinatown, he realizes just how impotent he is against the wealthy, depraved Cross. "Forget it, Jake," his old partner tells him. "It's Chinatown." Reworking the somber underpinnings of detective noir along more pessimistic lines, Polanski and screenwriter Robert Towne convey a '70s-inflected critique of capitalist and bureaucratic malevolence in a carefully detailed period piece harkening back to the genre's roots in the 1930s and '40s. Gittes always has a smart comeback like Humphrey Bogart's Sam Spade and Philip Marlowe, but the corruption Gittes finds is too deep for one man to stop. Other noir revisions, such as Robert Altman's The Long Goodbye (1973) and Arthur Penn's Night Moves (1975), also centered on the detective's inefficacy in an uncertain '70s world, but Chinatown's period sheen renders this dilemma at once contemporary and timeless, pointing to larger implications about the effects of corporate rapaciousness on individuals. Polanski and Towne clashed over Chinatown's ending; Polanski won the fight, but Towne won the Oscar for Best Screenplay. Chinatown was nominated for ten other Oscars, including Picture, Director, Actor, Actress, Cinematography, Art Direction, Costumes, and Score. ~ Lucia Bozzola, Rovi

Director Mike Nichols and screenwriter Buck Henry team up again (after collaborating on The Graduate and Catch-22) for this adaptation of Robert Merle's best-selling adventure novel concerning dolphins who become pawns in a plot to kill the president. George C. Scott plays Dr. Jake Terrell, a researcher who, along with his wife Maggie (Trish Van Devere), is investigating dolphin intelligence, believing they have the capability of speech. Harold DeMilo (Fritz Weaver), in charge of a major corporation, sponsors their work. But undercover work by government agent Curtis Mahoney (Paul Sorvino) reveals that DeMilo is working with a right-wing group planning to kidnap the dolphins and use them to blow up the presidential yacht. Jake and Maggie have to race against time to save both their dolphins and the president. ~ Paul Brenner, Rovi