Don Pike Movies

A teenager daydreams of getting some payback from the bullies who menace him in this hybrid of The Secret Life of Walter Mitty (1947) and The Karate Kid (1984). Barry Gabrewski (Jonathan Brandis) is an asthmatic schoolboy who can't participate in sports, much to the delight of a bullying classmate (John Buchanan) and his sadistic gym teacher (Richard Moll). Miserably unhappy, Barry escapes into a world of fantasy, where he imagines himself the tough, karate-proficient sidekick of action movie hero Chuck Norris. Trying to turn his dreams into reality, Barry visits dojo master Kelly Stone (Joe Piscopo), but Stone only mocks his aspirations. A supportive teacher introduces Barry to her uncle, Mr. Lee (Mako), a cook and martial arts teacher who takes Barry under his wing and teaches him the secrets of karate prowess. When Barry becomes good enough to enter a tournament, he needs a fourth athlete to complete his team, and who should be in the stands making a publicity appearance but the real-life Norris, who steps in to fight side-by-side with the plucky teen. Sidekicks was directed by Norris's brother and frequent collaborator Aaron Norris. ~ Karl Williams, All Movie Guide

After receiving a mysterious gold piece, Quatermain travels to Africa to find his brother, who is searching for a lost white tribe. In his search, Quatermain discovers a lost civilization. This film is a follow-up to King Solomon's Mines. ~ All Movie Guide

Not to be confused with the 1960 film of the same name, this fast-paced karate action flick stars Chuck Norris, still riding high on his karate film successes of the early '80s, and several years away from starting his popular Walker: Texas Ranger TV series. In this story he plays Eddie Cusak, a painfully honest police sergeant who just misses pulling off a drug bust -- it seems another gang got there before him, wiped out the competition, and made off with a fortune in white powder. A bad move -- this means nothing less than all-out war between the two rival gangs, with the police caught in the middle. Cusak has other problems as well, one of his team killed an innocent bystander during the raid and he is duty-bound to squelch any cover-up. With enemies on both sides of the law, he then has to take on the drug cartel with nothing more than cannons, machine guns, shotguns, pistols, a robot car, and other sundry artillery to help him out. ~ Eleanor Mannikka, All Movie Guide

Larry Cohen wrote the screenplay to this updating of Mickey Spillane's notorious 1947 novel. Cohen was originally engaged to direct the film as well but was pulled from the director's chair after a week's worth of shooting because he had already run up the budget by $100,000; he was replaced by television director Richard T. Heffron. In this 1982 I, the Jury, Mike Hammer (Armand Assante) is a Vietnam veteran who wears hip duds and drives around in a bronze Trans Am in much the same way as Robert Mitchum's Philip Marlowe was refurbished for Michael Winner's re-make of The Big Sleep. After a cheesy rip-off of a James Bond-style credit sequence, the story kicks in. One-armed detective Jack Williams (Frederick Downs) is murdered. Jack was Hammer's best friend, and Hammer decides that he will become a one-man vigilante squad and seek vengeance on the person responsible for his death. He enlists the aid of his vivacious secretary Velda (Laurene Landon) and is also helped and hindered by police-chief Pat Chambers (Paul Sorvino). Hammer latches on to the killer's trail, then the film veers in a radically different direction from the book, introducing government conspiracies and mind-control techniques by the CIA and the Mafia. Also introduced is Hammer's love interest Charlotte Bennett (Barbara Carrera), an administrator of a kinky sex clinic (depicted as a psychiatrist in the original novel). ~ Paul Brenner, All Movie Guide

Karate champ Chuck Norris returns for another chop-socky vigilante flick in The Octagon, one of a handful of undistinguished Ninja pictures released during the early '80s. Norris appropriately plays a retired karate champ hired as a bodyguard for a wealthy woman (Karen Carlson) plagued by a gang of vicious ninjas. Reluctant at first to take the job, he reconsiders when he learns the gang is headed by his longtime arch rival Tadashi Yamashita (Lee Van Cleef). The script -- as is the case in nearly every Ninja film -- has holes bigger than Okinawa, and the acting is downright atrocious, particularly that of Norris, who, thankfully, improved with time. However, the production values are fair, as is the direction, and the action sequences are often exciting and comparatively realistic. Recommended for genre fans only. ~ Jeremy Beday, All Movie Guide

Flatbed Annie is played by Annie Potts; her sidekick Sweetiepie, aka Ginny La Rosa, is played by Kim Darby. Annie is a hard-bitten veteran, Sweetiepie a starry-eyed novice. Harry Dean Stanton co-stars as a mean, nasty, awful bad guy who wants to repossess the girls' truck. The plot is further complicated by a gang of hijackers. Fred Willard plays Sweetiepie's hubby, while Arthur Godfrey, of all people, is the lovable Special Guest Star. And they hoped that this thing would graduate into a weekly TV series, did they? Flatbed Annie & Sweetiepie: Lady Truckers was first telecast February 10, 1979. ~ Hal Erickson, All Movie Guide

Faces is right: this definitive John Cassavetes film consists almost exclusively of tight, uncomfortable close-ups. It takes place in the fourteenth year of the marriage of Richard (John Marley) and Maria (Lynn Carlin). Neither husband nor wife is content with the conditions that prevail; Maria joins her friends looking for romantic satisfaction elsewhere, while Richard secures the services of a prostitute (Gena Rowlands). Maria herself has a one-night stand with a hippie (Seymour Cassel), but this is no more satisfying than her dead-end marriage. If you think that Faces is an exhausting experience in its current 130-minute length, imagine what it looked like in Cassavetes' original six-hour cut. Alternately clumsy and profound, it is nonetheless a work of deep sincerity, as recognized by the Venice Film Festival, which bestowed no fewer than five awards on the film, and it perfectly exemplifies Cassavetes' improvisational, cinéma vérité style and searching explorations of modern relationships. ~ Hal Erickson, All Movie Guide