Dean Riesner Movies

After a break of more than 15 years, director Francis Ford Coppola and writer Mario Puzo returned to the well for this third and final story of the fictional Corleone crime family. Two decades have passed, and crime kingpin Michael Corleone (Al Pacino), now divorced from his wife Kay (Diane Keaton), has nearly succeeded in keeping his promise that his family would one day be "completely legitimate." A philanthropist devoted to public service, Michael is in the news as the recipient of a special award from the Pope for his good works, a controversial move given his checkered past. Determined to buy redemption, Michael and his lawyer B.J. (George Hamilton) are working on a complicated but legal deal to bail the Vatican out of looming financial troubles that will ultimately reap billions and put Michael on the world stage as a major financial player. However, trouble looms in several forms: The press is hostile to his intentions. Michael is in failing health and suffers a mild diabetic stroke. Stylish mob underling Joey Zaza (Joe Mantegna) is muscling into the Corleone turf. "The Commission" of Mafia families, represented by patriarch Altobello (Eli Wallach) doesn't want to let their cash cow Corleone out of the Mafia, though he has made a generous financial offer in exchange for his release from la cosa nostra. And then there's Vincent Mancini (Andy Garcia), the illegitimate and equally temperamental son of Michael's long-dead brother Sonny. Vincent desperately wants in to the family (both literally and figuratively), and at the urging of his sister Connie (Talia Shire), Michael welcomes the young man and allows him to adopt the Corleone name. However, a flirtatious attraction between Vincent and his cousin, Michael's naïve daughter Mary (Sofia Coppola) develops, and threatens to develop into a full-fledged romance and undo the godfather's future plans. ~ Karl Williams, Rovi

Having crashed to Earth, an extraterrestrial space traveller must assume a human identity lest he be captured by the authorities. The alien (Jeff Bridges) chooses the likeness of the recently deceased husband of Jenny Hayden (Karen Allen). At first dumbstruck, Jenny becomes both hostile toward and frightened of her guest. He gradually wins her confidence, learning a few vital English-language phrases so that he can explain his presence. The "starman" has come to Earth with a message of peace, in response to the similar message sent out on Voyager One. He asks for Jenny's help in transporting him to the Nevada desert, where his fellow aliens are to pick him up and take him to his home planet. Soon he and Jenny form a united front against a mean-spirited National Security Council agent (Richard Jaeckel), who intends to seize the starman and turn him over for scientific scrutiny (and possible extermination). While en route to Nevada, Jenny grows closer to the gentle-natured Starman, eventually making love with him. By the time he is poised to leave, she is carrying his child, leaving the field wide open for a sequel--which was never produced, though a weekly TV version surfaced in 1986. ~ Hal Erickson, Rovi

Although penned by the same screenwriter, David S. Ward, this sequel to The Sting (1973) is tarnished by comparisons to its predecessor. Jackie Gleason fills the shoes of Paul Newman as Harry Gondorff and Mac Davis slips into the Robert Redford role of Johnny Hooker, two con men pals whose latest "sting" involves Hooker pretending to be a down on his luck boxer. Their goal is the fixing of a prizefight, which will rook a tacky nightclub owner (Karl Malden) out of a fortune while simultaneously getting revenge on their old nemesis, Doyle Lonnegan (Oliver Reed). On their side is Veronica (Teri Garr), a seasoned scam artist, but what Gondorff and Hooker don't know is that Lonnegan is manipulating events behind the scenes. Director Jeremy Paul Kagan followed up this terribly unfunny and inferior sequel with the much better received The Journey of Natty Gann (1985), while Ward became a director of such comedies as Major League (1989) and King Ralph (1991). ~ Karl Williams, Rovi

A fugitive (Timothy Bottoms) and a handicapped woman (Linda Purl) on the run in the wilds of the Canadian Rockies fall in love in this adventure film from Harvey Hart. ~ Jason Ankeny, Rovi

More ambitious and expensive than ABC's first "novel for television" miniseries QB VII, the eight-episode, 12-hour Rich Man, Poor Man was the one that truly put the genre on the map, its phenomenal success in the ratings making possible the even more spectacular Roots. Adapted from the mammoth novel by Irwin Shaw, the miniseries covers the years from WWII to the 1960s, detailing the vacillating fortunes of the immigrant Jordache brothers. "Rich Man" Rudy Jordache (Peter Strauss) is determined to use his hard-earned education -- and his inherent ruthlessness -- to carve out a business and political empire not unlike that enjoyed by Joseph P. Kennedy and his progeny. "Poor Man" Tom Jordache (Nick Nolte), a quick-fisted hothead, goes an entirely different route, first as a professional boxer, then as a functionary of the evil gangster chieftain Falconetti (William Smith). Naturally, both brothers become entangled in romance along the way, with Julie Prescott (Susan Blakely) ending up as Rudy's benighted spouse. Originally telecast on February 1, 2, 9, 16, 23, and March 1, 8, and 15 in 1976, Rich Man, Poor Man earned 20 Emmy nominations and led to a weekly sequel, Rich Man, Poor Man -- Book 2, in the fall of 1976 (this version necessitated a title change for the original, which was rebroadcast as Rich Man, Poor Man -- Book 1 in the spring of 1977). ~ Hal Erickson, Rovi

"An unprecedented cast brings to life the blockbuster book"--or so said the add copy for The Moneychangers, a four-part TV miniseries based on Arthur Hailey's novel, first telecast Dec 4-19, 1976. The drama's starting point is a power play between two bank officers, played by Kirk Douglas and Christopher Plummer. Social commentary is provided by an inner-city revolt against the bank's policies, while inside the bank's walls are played out brief scenarios of embezzlement, crooked deals, credit card counterfeiting and attempted murder. Ross Hunter coproduced the adaptation, imbuing each frame with the plush treatment that he'd previously lavished on his Doris Day and Rock Hudson vehicles. The Moneychangers originally ran 6 1/2 hours; it has been pared down to two-part movie length for subsequent syndicated telecasts. ~ Hal Erickson, Rovi

Don Siegel directed this offbeat crime thriller which stars Walter Matthau as the titular Charley Varrick. Varrick is a small-time stick-up man who, in tandem with his partner Harman Sullivan (Andrew Robinson), makes plans to rob a small bank in New Mexico. Varrick and Sullivan are expecting a modest payday for a simple heist, but to their surprise they walk away with $750,000 in cash. But it turns out this isn't entirely good news; the bank was flush with cash because a number of well-connected Mafia chieftains have been using the bank to launder their ill-gotten gains, and they're determined to get their money back. Before Varrick can figure out a way to return the money, sadistic hired killer Molly (Joe Don Baker) is on his trail, forcing Varrick to outwit both the cops and the robbers if he is to stay alive.

~ Mark Deming, Rovi

Play Misty for Me marked Clint Eastwood's debut as a director, and it gave him the then-unusual opportunity to play a regular contemporary guy in a thriller about sex, obsession, and stalking. Eastwood's Dave Garver is a self-centered California jazz disc jockey struggling with the idea of committing to his on-again, off-again girlfriend Tobie (Donna Mills). One night he meets the mini-skirted Evelyn (Jessica Walters) in a bar, and he goes home with her for what he assumes is a one-night stand. Dave discovers, however, that Evelyn has repeatedly called his show requesting that he "play 'Misty' for me," and she is not about to go gently into the night now that she has bedded him. Even though it touches on the early-'70s flashpoints of sexual liberation, studio execs expressed doubts about why anyone would want to see a movie featuring Eastwood as a deejay. Eastwood reportedly answered that he was not sure either, but he thought it was a good suspense story, and he offered his services as director for free. Play Misty for Me wound up making five times more than it cost and is a precursor to such erotic thrillers as Fatal Attraction (1987) and Basic Instinct (1992). Eastwood mentor Don Siegel appears early on as a bartender. ~ Lucia Bozzola, Rovi

In 1966, producer Frank Price came up with a TV series concept about a group of people lost on an uncharted island who are forced to carve out their own civilization. No, it wasn't Gilligan's Island, but a more serious endeavor titled Stranded. When the pilot episode didn't sell, Price put the idea on the back burner until 1969 when, in collaboration with writer Dean Riesner, he dreamed up the two-hour pilot film, Lost Flight. This time, an airliner captained by Steve Bannerman (Lloyd Bridges) crashes on a remote island in the Pacific. Among Bannerman's fellow castaways are Gina Talbot (Anne Francis), Merle Barnaby (Billy Dee Williams), Glenn Wallup (Ralph Meeker), Jonesey (Andrew Prine), Charlie Burnett (the character who gets killed off early, played by Michael-James Wixted), and, as the resident troublemaker, Eddie Randolph (Bobby Van). Given a one-shot telecast in early 1970, Lost Flight didn't fly as a series...nor did Price's like-minded effort, 1976's Stranded. ~ Hal Erickson, Rovi

In her first Ironside guest appearance, Susan Saint James is cast as Las Vegas nightclub singer Elaine Moreau, with whom Ed Brown (Don Galloway) has fallen in love. Attacked and knocked unconscious after his first date with Elaine, Ed awakens to find that the girl has completely disappeared. Probing into the incident, Ironside (Raymond Burr) uncovers several unsavory facts about Elaine's checkered past, thereby preparing the viewer for the episode's melancholy climax. ~ Hal Erickson, Rovi

In Volume 13 of a collection culled from the 1963-1965 science fiction anthology television series, a prehistoric creature found encased in ice is thawed out to lead an army of cavemen. ~ Jason Ankeny, Rovi

Two of filmdom's finest farceurs--Hollywood's Bob Hope and France's Fernandel--are teamed in the location-filmed Paris Holiday. Since Hope coauthored the script, however, guess which actor has the largest part. Cast more or less as himself, Hope plays an American comedian who comes to Paris to purchase a script. Little does his suspect that the script contains secret messages pertaining to a vicious gang of counterfeiters. With the help of villainess-turned-heroine Anita Ekberg, Hope is committed to an insane asylum to protect him from the bad guys; he then must rely upon Fernandel to spring him from the looney bin. Throughout Paris Holiday, Bob Hope looks too old and too rich to be indulging in such nonsense. Film buffs will enjoy the brief, unbilled appearance by famed producer-director-writer Preston Sturges. ~ Hal Erickson, Rovi