Edward R. Pressman Movies

Director David Byrne (of Talking Heads) takes an outside-looking-in glance at Texas and Texans in True Stories. Casting himself as the protagonist/narrator, Byrne adopts what he thinks is "standard" western garb and drives his red convertible into the small town of Virgil. Here he observes the town's preparations for celebrating Texas' sesquicentennial, taking time out to introduce us to several of the local oddballs. Swoosie Kurtz plays Miss Rollings, the Laziest Woman in the World; Alix Elias is The Cute Woman, who decorates her home in the most hideously "sweet" manner imaginable; John Goodman is talent-contest entrant Louis Fyne, who harbors dreams of being a C&W star; Spalding Gray is Earl Culver, a vegetable-obsessed civic leader; Jo Harvey Allen is The Lying Woman; and so it goes. The script by Southerners Byrne, Beth Henley and Steven Tobolowksy strives to avoid subtlety. ~ Hal Erickson, Rovi

Film auteur Sylvester Stallone wrote, directed, and stars in this re-working of Rocky to fit an old-fashioned Hollywood formula, depicting three brothers from New York's Hell's Kitchen of the 1940s who want to claw their way out of poverty. Lee Canalito is the muscle-brained iceman Victor, and Armand Assante is the embittered, crippled war veteran Lenny. But the smooth-talking con man brother Cosmo (Sylvester Stallone), sees beef-cake Victor's fists as their ticket out of the slums. Cosmo, ever the manipulator, convinces the dull-witted Victor to participate in a series of bone-crunching wrestling matches as Kid Salami. Cosmo and Lenny exploit Victor's brute strength to grab the fast money on the wrestling circuit. But their climb to success is halted when the local gangster Stitch (Kevin Conway) puts up his malicious and dangerous wrestler Frankie the Thumper (Terry Funk) to fight against Kid Salami in a 22-round meat-pounder. ~ Paul Brenner, Rovi

"He wanted to die with me and I dreamed of being lost forever in his arms." A young couple goes on a Midwest crime spree in Terrence Malick's hypnotically assured debut feature, based on the 1950s Starkweather-Fugate murders. Fancying himself a rebel like James Dean, twentysomething Kit (Martin Sheen) takes off with teen baton-twirler Holly (Sissy Spacek) after shooting her father (Warren Oates) when he tries to split the pair up. Once bounty hunters discover their riverside hiding place, Kit and Holly head toward Saskatchewan, leaving dead bodies in their wake. As the law closes in, however, Holly gives herself up -- but Kit doesn't hold it against her, as he basks in his new status as a momentary folk hero. Inaugurating the use of voice-over narration that he would continue in Days of Heaven (1978) and The Thin Red Line (1998), Malick juxtaposes Holly's flat readings of her flowery romance-novel diary prose with the banal and surreal details of their journey. Singularly inarticulate with each other, Kit and Holly are more intrigued by mythic celebrity gestures, as Holly peruses her fan magazines and Kit commemorates key moments before orchestrating a properly dramatic capture for himself (complete with the right hat). The sublime visuals lend a dreamlike beauty to the couple's trip even as their actions are treated casually; Malick neither glamorizes Kit and Holly nor consigns them to the bloody end of their fame-fixated predecessors in Bonnie and Clyde (1967). With the couple's opaque dialogue and Holly's fanzine dream narration, Malick further denies an easy explanation for their crimes. Made for under 500,000 dollars, Badlands debuted at the 1973 New York Film Festival, along with Martin Scorsese's Mean Streets, and was released within months of two other outlaw-couple road movies, Steven Spielberg's The Sugarland Express and Robert Altman's Thieves Like Us. Although Badlands did not make an impression at the box office, its pictorial splendor and cool yet disquieting narrative established Malick as one of the most compelling artists to come out of early-'70s Hollywood. ~ Lucia Bozzola, Rovi

If police lieutenant Harvey Keitel's life could get any more sordid, he could probably sell tickets. The least of his vices is gambling, which has gotten him in Dutch with the mob. He abuses his body with drugs and his soul with hookers, and now he's turned to exploiting teenage girls for sex. Keitel is forced to reassess his life while investigating the rape of a nun. Director Abel Ferrara co-wrote the screenplay with Zoe Lund, who as Zoe Tamerlis starred in Ferrara's cult classic Ms. 45. A soundtrack tune by rapper Schoolly D, which was included in the initial release of Bad Lieutenant, featured a sample from Led Zeppelin which was used without permission; the song has since been excised from the soundtrack. ~ Hal Erickson, Rovi

Joseph Papp's notion of staging one of Gilbert and Sullivan's best-loved operettas with two pop singers (Linda Ronstadt and Rex Smith) in the leads paid off as a surprise Broadway smash in the early 1980s, and this film faithfully reproduces Papp's production, featuring most of the original cast and the original director. Frederic (Smith) has been taught since childhood to be a sea-going bandit by the Pirate King (Kevin Kline), but with his 21st birthday imminent, Frederic wants to leave pirating behind, especially after he becomes infatuated with innocent Mabel (Ronstadt). But the Pirate King informs Frederic that since he was born on the last day of February on a Leap Year, his 21st birthday won't roll around for some time yet, and he still owes the King some raiding on the high seas. To Frederic's embarrassment, the Pirate King's next target turns out to be Major General Stanley (George Rose), Mabel's father! The Pirates of Penzance also features Angela Lansbury as Ruth (the sole major casting change from the Broadway production -- Estelle Parsons played the role on stage). ~ Mark Deming, Rovi