Martin Ransohoff Movies

Airplane travel is a precarious thing at best, and despite the billions of miles traveled safely, the notion of being trapped in a thin metal shell miles above the ground with someone who deliberately imperils lives never fails to chill. In this thriller, serial killer Ryan Weaver (Ray Liotta) gets loose in the plane which is taking him to prison. Suicidal, he manages to kill or incapacitate the pilot, copilot and navigator, only to have his death wish thwarted by the brave actions of flight attendant Teri Halloran (Lauren Holly). Teri manages to keep the plane in the air and more or less on course with groundside help from air traffic controller Sam Bowen (Ben Cross). Teri is Weaver's favorite type of victim and he has made her believe that he may be innocent. Will she be able to resist the killer's sinister charm and save the plane? ~ Clarke Fountain, Rovi

In this drama, Lt. Jake Robbins (Kris Kristofferson) was presumed to have been killed in action during the Vietnam War. His wife, Sarah (JoBeth Williams) and his son were forced to get on with their lives; however when Jake turns up in Thailand many years later with a Cambodian wife and two children, the two families must struggle to deal with this complication. ~ Iotis Erlewine, Rovi

The 1920s-era play The Front Page was about a Chicago reporter who wants to retire and get married but is tricked by his editor into doing one last story -- which proves to be complicated. It was made into a classic film in 1931 and inspired the 1940 hit movie His Girl Friday, in which the reporter was changed into a woman. Billy Wilder also remade the original film in 1974. Switching Channels is a 1988 remake of His Girl Friday, with Kathleen Turner in the starring role, which has now morphed into that of a cable television network news anchor, Christy Colleran. She wants to marry a rich and handsome sporting goods manufacturer, Blaine Bingham (Christopher Reeve) and move out of town. But her ex-husband, John L. Sullivan IV (Burt Reynolds), who is also her producer and boss, gives her one final assignment to try to keep her around. Her reporting leads her into an investigation of a jail escape that follows a botched-up execution. Writer Jonathan Reynolds updated the original material. ~ Michael Betzold, Rovi

In this hit thriller, a prosecuting attorney-turned-defense lawyer falls in love with a rich, charming client who's been accused of murdering his wife and her maid with a hunting knife. When an unknown assailant gruesomely slays San Francisco newspaper heiress Paige Forrester (Maria Mayenzet), her husband and business partner, Jack Forrester (Jeff Bridges), turns to corporate attorney Teddy Barnes (Glenn Close) for counsel. Teddy, who quit her job with the district attorney's office four years earlier over an ethical dilemma, has reservations about returning to criminal work; nevertheless, she accepts the assignment, convinced of Jack's innocence and eager to face off in court against her old boss, DA Thomas Krasny (Peter Coyote), who's about run for attorney general. With the help of investigator Sam Ransom (Robert Loggia), the recently divorced Teddy builds a strong defense for her client, though the work -- and her incipient romance with Jack -- cause strain in her relationship with her children. When Jack's innocence and his romantic intentions come into question, Teddy feels her life slipping back into a moral quagmire until a series of courtroom denouements set the stage for even bigger surprises. Big-name screenwriter Joe Eszterhas' follow-up to Flashdance, Jagged Edge was directed by Richard Marquand, who had previously lensed Return of the Jedi. Parts of Jagged Edge were shot on-location in San Francisco, whose City Hall provides the film's courtroom exteriors. ~ Brian J. Dillard, Rovi

Gene Wilder stars as Michael Jordon, an architect on the run from false murder charges, who hooks up with Kate Hellman (Gilda Radner), the sister of a recent suicide victim. ~ Jason Ankeny, Rovi

Middle-aged angst is the catalyst for this drama about an older married couple who join up with younger partners. When Karen Evans (Shirley MacLaine) discovers that her husband Adam (Anthony Hopkins) has been dallying around with young co-ed Lindsey Rutledge (Bo Derek), she is furious. She fights back by starting up an affair with young Pete Lachapelle (Michael Brandon) and pretending to tolerate her husband's pecadillos. Adam is selfish and arrogant, a typical college professor stereotype. The odd couples decide to take off for a skiing holiday in Vermont during which their relationships will be tested. ~ Eleanor Mannikka, Rovi

In this chiller, a trio of heroes must enter a black Southwestern cave and destroy an entire colony of plague-bearing bats, vampire bats. The story is based on a novel by Martin Cruz Smith. ~ Sandra Brennan, Rovi

While taking a train trip from L.A. to Chicago, mild-mannered George Caldwell (Gene Wilder) makes the acquaintance of Hilly Burns (Jill Clayburgh). As they indulge in a brief bit of spooning, Hilly tells George that her boss is on the verge of exposing a group of vicious art forgers. Later that evening, George sees the body of Hilly's boss being thrown off of the train. Detective Sweet (Ned Beatty) agrees to investigate, but he too is bumped off. The instigator of these outrages is master forger Roger Devereau (Patrick McGoohan), who, with his crony Mr. Whiney (Ray Walston) is planning a particularly diabolical crime. Worse still, they take Hilly prisoner so she can't tip off the cops. When George is also targeted for elimination, he manages in slapstick fashion to elude the killers. Falling off the train, he ends up being arrested on some trumped-up charge or other by a local sheriff. He makes his escape in the company of petty thief Grover Muldoon (Richard Pryor) -- and that's only the beginning. A box-office smash, Silver Streak paved the way for the equally successful 1980 Wilder-Pryor vehicle Stir Crazy. ~ Hal Erickson, Rovi

Star Jack Lemmon was so eager to see Save the Tiger make it to the big screen that he waived his salary rather than have the film exceed its tiny budget. Lemmon portrays "the great American tragedy" as upwardly mobile garment manufacturer Harry Stoner, whose underhanded business tactics are beginning to catch up with him, and whose keeping-up-appearances lifestyle has forced him into bankruptcy. The script, by producer Steve Shagan, does nothing to endear us to Stoner: he flagrantly cheats on his wife, arranges business deals by servicing his clients with prostitutes, and finally agrees to torch his warehouse to collect the insurance money, all the while paying empty lip service to his lost ideals. Nonetheless, one "feels" for Stoner throughout, especially when he breaks down while giving a speech to his assembled buyers, imagining that the audience is populated by his dead army buddies, who gave up their lives to make the world safe for good-for-nothings like himself. Lemmon's performance won him an Academy Award. Appearing in supporting roles are Jack Gilford as Lemmon's conscience-stricken partner and Thayer David as a smarmy arsonist. ~ Hal Erickson, Rovi

10 Rillington Place is the true story of British mass murderer John Reginald Christie, played with chilling "normality" by Richard Attenborough. Throughout the late '40s, Christie lures middle-aged women to his London flat promising to cure their ailments with nitrous oxide, then kills them, assaults their dead bodies, and buries them. One of his victims is Beryl Evans (Judy Geeson), who misguidedly comes to Christie seeking an abortion -- and in the process, not only loses her own life, but sets in motion a horrid sequence of events that threatens to endanger her husband as well. ~ Hal Erickson, Rovi

Director Mike Nichols and writer-actor Buck Henry followed their enormous hit The Graduate (1967) with this timely adaptation of Joseph Heller's satiric antiwar novel. Haunted by the death of a young gunner, all-too-sane Capt. Yossarian (Alan Arkin) wants out of the rest of his WW II bombing missions, but publicity-obsessed commander Colonel Cathcart (Martin Balsam) and his yes man, Colonel Korn (Henry), keep raising the number of missions that Yossarian and his comrades are required to fly. After Doc Daneeka (Jack Gilford) tells Yossarian that he cannot declare him insane if Yossarian knows that it's insane to keep flying, Yossarian tries to play crazy by, among other things, showing up nude in front of despotic General Dreedle (Orson Welles). As all of Yossarian's initially even-keeled friends, such as Nately (Art Garfunkel) and Dobbs (Martin Sheen), genuinely lose their heads, and the troop's supplies are bartered away for profit by the ultra-entrepreneurial Milo Minderbinder (Jon Voight), Yossarian realizes that the whole system has lost it, and he can either play along or jump ship. Though not about Vietnam, Catch-22's ludicrous military machinations directly evoked its contemporary context in the Vietnam era. Cathcart and Dreedle care more about the appearance of power than about victory, and Milo cares for money above all, as the complex narrative structure of Yossarian's flashbacks renders the escalating events appropriately surreal. Confident that the combination of a hot director and a popular, culturally relevant novel would spell blockbuster, Paramount spent a great deal of money on Catch-22, but it wound up getting trumped by another 1970 antiwar farce: Robert Altman's MASH. With audiences opting for Altman's casual Korean War iconoclasm over Nichols' more polished symbolism, the highly anticipated Catch-22 flopped, although the New York Film Critics Circle did acknowledge Arkin and Nichols. Despite this reception, Catch-22's ensemble cast and pungent sensibility effectively underline the insanity of war, Vietnam and otherwise. ~ Lucia Bozzola, Rovi

Perhaps the reason there are so many filmed versions of Hamlet is that in each decade every great Shakespeareian actor, and almost any movie actor with a yen to prove his versatility wants to tilt at this particular thespian windmill. Aside from the much more difficult King Lear, it is also one of the few plays by the master that can serve as a star vehicle. This 1969 version of the Bard's great play features the ardent mumblings of the actor Nicol Williamson, who brought his non-Standard British to the role. Williamson's esoteric enunciations were all the rage at the time of this film's revision of Shakespearian tradition, and his vocal mannerisms were arguably more authentic than usual. Scholars tell us that the English of Londoners in Shakespeare's time sounded very much like that spoken by Highland Scots today. Despite his stage success in the role, the vastly capable actor's magnetism was insufficient to make a popular success of this particular version. All the same, it is worth viewing on its own merits, and for supporting performances by future stars Anthony Hopkins and Anjelica Huston. ~ Clarke Fountain, Rovi

A top-secret Soviet spy satellite -- using stolen Western technology -- malfunctions and then goes into a descent that lands it near an isolated Arctic research encampment called Ice Station Zebra, belonging to the British, which starts sending out distress signals before falling silent. The atomic submarine Tigerfish, commanded by Cmdr. James Ferraday (Rock Hudson), is dispatched with orders to get to Ice Station Zebra carrying three passengers, a Englishman going by the name of David Jones (Patrick McGoohan), a Soviet turncoat named Boris Vaslov (Ernest Borgnine), and an American Marine officer, Captain Anders (Jim Brown), who is supposed to command the Marine unit assigned to the mission. Jones is problem enough, as he is in command of the mission and he prefers to withhold as much information as it's possible to do from Ferraday, even at the risk of the Tigerfish's safety. Add to that the fact that Anders is suspicious of Vaslov, and Vaslov seems much too inquisitive and is telling even less of what he knows about the mission, and Ferraday has his hands full trying to get these men to the polar ice -- 600 miles of dangerous travel -- in just two days. When an attempt to break through the ice -- coupled with some timely sabotage -- kills one man and nearly destroys the boat, the men surrounding these contending parties start to understand just how high the stakes are for everyone. It turns out that the Soviets want what was aboard that satellite as much as the West does; indeed, both sides are frantic to get it, and, just as much, to keep the other side from getting it -- and they're prepared to take it by brute force. Once Ferraday and his men arrive at Zebra, they find a disaster and still more mystery, with most of the men dead and the object that Mr. Jones is supposed to secure nowhere in evidence, and he and his two fellow men of mystery suddenly showing their killing instincts quite freely. And with the storm clearing from the Soviet side first, their planes and their paratroops are closing in on Ferraday, and his relative handful of men. ~ Bruce Eder, Rovi