Harold Schneider Movies

The life of powerful union leader Jimmy Hoffa is the subject of this biographical drama. The focus is strongly on Hoffa's public and political life, from his early days as a labor organizer to his later conflicts with the Federal government -- and, eventually, his mysterious disappearance. ~ Judd Blaise, Rovi

Someone to Watch Over Me, a mystery thriller directed by Ridley Scott is the story of a police officer who falls in love with the woman he is hired to protect and the effect of this affair on his marriage and his life. Claire (Mimi Rogers) an extremely wealthy socialite is the sole witness to a mob murder and is in great danger. Mike (Tom Berenger), a happily married NYC police officer is assigned to protect her and takes up residence in her foyer while she waits to testify. A romance develops between the unlikely couple which threatens Mike's marriage to Ellie (Lorraine Bracco). All of this sounds more exciting than it is, and while the film fails to generate much suspense, the love story and Mike's dilemma are interesting. All the performances are excellent, particularly that of Bracco as the no-nonsense wife. The score is exceptional and the photography and set decoration are all fine. Someone to Watch Over Me is a fine police thriller and love story. ~ Linda Rasmussen, Rovi

Once more, a wise-guy teenager tries to prove he's smarter than any adult-and nearly destroys the whole world in the process-in WarGames. Computer-game aficionado Matthew Broderick inadverently taps into a hush-hush Pentagon computer, then proceeds to inaugurate his favorite game, "Global Thermonuclear War". What we know, but Broderick doesn't, is that the Pentagon, hoping to eliminate the chancy "human element" in the event of an actual war, has given its computer total, irreversable control over the launching of nuclear weaponry. Broderick and government official Dabney Coleman race against time to reverse the computer's resolve to send bombers to Russia. WarGames scored a hit, especially with teenage filmgoers. ~ Hal Erickson, Rovi

In this abysmal, tasteless farce, the pitfalls of patient and staff life in a big city hospital are supposed to be the brunt of the jokes, but there are no living jokes in this film. In the first several scenes, the obnoxious know-it-all Fats (Charles Haid) introduces new interns to the hospital with an aggressive monologue that exhorts them to stay away from the patients and basically do exactly the opposite of what the Hippocratic Oath enjoins. Everything spirals downhill from there. Later on, an intern quits in disgust but returns to the hospital when one of his friends needs his medical expertise. As an example of the hilarious behavior of the protagonists, a female doctor does an autopsy while she herself is bare to the waist. Certainly her scalpel might have been put to better use by excising that scene and then transplanting another movie onto this one. ~ Eleanor Mannikka, Rovi

Sentenced to hang in a backwater western town, horse thief Henry Moon (Jack Nicholson) is saved when frontierswoman Julia Tate (Mary Steenburgen) agrees to marry him. Taking advantage of the town law that prohibits the execution of married men, Moon follows Tate back to her ranch, planning all the while to escape at the first possible opportunity. But Tate insists that he honor his end of the bargain at work on the ranch. She has no intention of consummating the union, a fact that drives the hot-to-trot Moon up a wall. She puts him to work on the gold mine that she has on her property, while his old gang prepares to relieve the couple of their gold once it's on the surface. Jack Nicholson personally selected movie newcomer Mary Steenburgen for Goin' South. The film also features John Belushi in the role of a dyspeptic deputy. ~ Hal Erickson, Rovi

In this counter-culture caper comedy, directed by Alan Myerson (whose work with The Committee and Second City gives the film a quirky sketch comedy freshness), Donald Sutherland plays Veldini, a sad-eyed demolition-derby driver, serving time for larceny. He also possesses a millennial desire to wreck every car manufactured in the United States from 1940 to 1960. After being released from jail, Veldini hatches a scheme to restore an old U.S. World War II amphibian plane to escape conventional society and fly off to a new nonconformist world. Searching for spare parts to complete the restoration, Veldini realizes that a particular electrical circuit is available only at the local Navy base, and he decides to rob the base to steal the circuit. Involved in the caper with him is Iris (Jane Fonda in a burlesque of her performance in Klute) as a 100-dollar-a-night call girl who is sick of being humiliated; Veldini's kid brother (John Savage); and Eagle (Peter Boyle), a schizophrenic out-of-work circus performer. Standing in the way of Veldini's scheme is Frank Veldini (Howard Hesseman), his older brother and a politically ambitious district attorney. ~ Paul Brenner, Rovi

Produced by Hollywood iconoclast BBS Productions, film critic-turned-director Peter Bogdanovich's 1971 film pays homage to Hollywood's classical age as it chronicles generational rites of passage in Anarene, a fictional one-horse Texas town. In 1951, high school seniors Sonny (Timothy Bottoms) and Duane (Jeff Bridges) play football, go to the movies at the Royal Theater, hang out at the pool hall owned by local elder statesman Sam the Lion (Ben Johnson), and lust after rich tease Jacy Farrow (Cybill Shepherd in her film debut). As the year passes, Sonny learns about the pitfalls and compromises of adulthood through an affair with his coach's wife Ruth (Cloris Leachman) and a thwarted elopement with Jacy after she dumps Duane. Following two tragic deaths, and with Duane gone to Korea and Jacy packed off to college in Dallas, Sonny is left behind in Anarene, wise enough to absorb the life lessons of Sam the Lion and Jacy's mother Lois (Ellen Burstyn). He is determined to honor Sam's legacy as the town's conscience, despite a telling sign of incipient communal disintegration: the closing of the Royal Theater after a final showing of Howard Hawks's Red River. Paying tribute to classical Hollywood directors like Hawks and John Ford, Bogdanovich used old-time cinematographer Robert Surtees and shot The Last Picture Show in crisp black-and-white, with a restrained style devoid of the kind of "new wave" techniques (jump cuts, zooms, and jittery hand-held camerawork) used by such contemporaries as Arthur Penn, Robert Altman, Mike Nichols, and Martin Scorsese. As in such Ford films as The Grapes of Wrath (1940), Bogdanovich relies on careful visual composition in deep focus to help communicate the regret over the passing of an era. Hailed as one of the best films by a young director since Citizen Kane (1941), The Last Picture Show premiered at the New York Film Festival and went on to become a hit. It was also nominated for eight Oscars, including Best Picture, Best Director and Best Screenplay for Larry McMurtry's and Bogdanovich's adaptation of McMurtry's novel. John Ford stalwart Johnson won Supporting Actor and Leachman won Supporting Actress, beating out their cohorts Bridges and Burstyn. For an audience steeped in movie history and caught up in the chaotic 1971 present, The Last Picture Show presented a nostalgic look backward that was not so much an escape from the present as a coming to terms with what the present had lost. Its 1990 sequel Texasville, in which Bridges and Shepherd played later incarnations of their original characters, was not as successful. ~ Lucia Bozzola, Rovi

While Peter Watkins' films of the 1960s reflected the political turmoil and tumult of that decade, 1971's Punishment Park offered a disturbing look at the backlash against leftist activism which emerged in the wake of such events as the 1968 Democratic Convention in Chicago and the shootings at Kent State University. Set at some unspecified point in the near future, Punishment Park was inspired by a provision of the 1950 McCarran Internal Security Act, which gives the President of the United States the right to suspend the traditional judicial system in favor of tribunals to deal with people believed to be "a risk to internal security" in the event of what the Chief Executive deems a national emergency. As the McCarran Act also enabled political prisoners to be held in concentration camps rather than conventional penal facilities, Punishment Park follows a group of left-wing dissidents (Black Power activists, antiwar protesters, and a politically oriented folksinger, among others) as they're given a perfunctory hearing by a panel of military officers and ordinary citizens. They are then offered a choice: they can either serve long stays in prison (seven years is the shortest sentence mentioned), or spend 72 hours in Punishment Park, a section of the Southern California desert. The prisoners are to travel 53 miles on foot in three days, with only minimal provisions of water or food under 110-degree heat, while they are followed by National Guard troops who are permitted to shoot if provoked. If they can complete the hike in the allotted time, they'll be allowed to go free, though it soon becomes obvious that despite the fact the odds have been stacked against them, the prisoners are being dealt an unfair hand along the trail. ~ Mark Deming, Rovi