Charles Martin Smith Movies

Fuzz treads the line between raucous comedy and gut-churning melodrama. Based on an "87th Precinct" novel by Ed McBain (aka Evan Hunter), the film stars Burt Reynolds and Jack Weston as, respectively, detectives Steve Carella and Meyer Meyer. Their current assignment is to bring in Deaf Man (Yul Brynner), a mad bomber who has been targeting politicians. A subplot concerning a couple of punks who get their kicks by setting fire to sleeping winos is dramatically justified by the main storyline, but it was this element that caused a lot of trouble for the producers of Fuzz when a pair of real-life teenagers decided to imitate the film. On a lighter note, Raquel Welch co-stars as Detective Eileen McHenry, who is obliged to go undercover -- and under covers -- with fellow officer Bert Kling (Tom Skerritt). And as a bonus, viewers are treated to Burt Reynolds' first "drag" scene. ~ Hal Erickson, All Movie Guide

It's the last night of summer 1962, and the teenagers of Modesto, California, want to have some fun before adult responsibilities close in. Among them are Steve (Ron Howard) and Curt (Richard Dreyfuss), college-bound with mixed feelings about leaving home; nerdy Terry "The Toad" (Charles Martin Smith), who scores a dream date with blonde Debbie (Candy Clark); and John (Paul Le Mat ), a 22-year-old drag racer who wonders how much longer he can stay champion and how he got stuck with 13-year-old Carol (Mackenzie Phillips) in his deuce coupe. As D. J. Wolfman Jack spins 41 vintage tunes on the radio throughout the night, Steve ponders a future with girlfriend Laurie (Cindy Williams), Curt chases a mystery blonde, Terry tries to act cool, and Paul prepares for a race against Bob Falfa (Harrison Ford), but nothing can stop the next day from coming, and with it the vastly different future ushered in by the 1960s. Fresh off The Godfather (1972), producer Francis Ford Coppola had the clout to get his friend George Lucas's project made, but only for $750,000 on a 28-day shooting schedule. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film the neon-lit aura that Lucas wanted, evoking the authentic look of a suburban strip to go with the authentic sound of rock-n-roll. Universal, which wanted to call the film Another Slow Night in Modesto, thought it was unreleasable. But Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's nostalgia for the pre-Vietnam years apparently appealed to a 1973 audience embroiled in cultural chaos: American Graffiti became the third most popular movie of 1973 (after The Exorcist and The Sting), establishing the reputations of Lucas (whose next film would be Star Wars) and his young cast, and furthering the onset of soundtrack-driven, youth-oriented movies. Although the film helped spark 1970s nostalgia for the 1950s, nothing else would capture the flavor of the era with the same humorous candor and latent sense of foreboding. ~ Lucia Bozzola, All Movie Guide

In this western, an outlaw is wounded in battle and manages to escape to the home of two helpful runaways who help him recuperate. During this time, the outlaw regales them with thrilling tales of his adventurous exploits. His stories inspire the lads to form a gang of their own; the outlaw is more than happy to help and become their leader. They rob a few banks and have great fun until the outlaw becomes a turncoat and begins hunting them for a generous bounty. But one of the boys decides to get revenge and rootin' tootin' mayhem ensues. ~ Sandra Brennan, All Movie Guide

The "Gold Dust Twins" are two L.A. gals who kidnap a likable-loser type who's a driving instructor (Alan Arkin) and force him to take them from Los Angeles to New Orleans. On the way they run into action of all sorts, and by the time they get to the Bayou state, the three have bonded as buddies. ~ All Movie Guide

In this Disney comedy, a pair of spoiled kids, bored by their filthy rich grandfather, decide they'd rather be with their mom who is in Hong Kong. In order to get her attention, they engineer their own kidnapping. ~ Sandra Brennan, All Movie Guide

From the time he was a high-school student in Lubbock, Texas until his tragic death at age 22 in 1959, Buddy Holly ignored the condemnation by townspeople and his conservative relatives and dedicated his life to the new music he became famous for performing: rock 'n roll. Gary Busey stars as Buddy Holly in this widely acclaimed big-screen biography and sings well enough on camera for the film's adapted musical score to win an Oscar. Among the classic songs by Buddy Holly and the Crickets which can be heard are: Oh Boy, That'll Be The Day, Peggy Sue, and Not Fade Away. ~ Clarke Fountain, All Movie Guide

Returning from the original American Graffiti are Debbie Dunham, Steve Bolander, John Milner, Carol/Rainbow, Terry the Toad and Laurie Bolander (Candy Clark, Ron Howard, Paul LeMat, Mackenzie Phillips, Charles Martin Smith and Cindy Williams), but Richard Dreyfuss is missing and Harrison Ford shows up in a gag cameo. The sequel brings its principles into the more radical end of the 1960s, with Steve and Laurie, now married, on the fringes of the protest movement. Debbie and Carol have been lured into the flower-power milieu by rocker Newt (Scott Glenn). And John has parlayed his love of hot rods into a drag-racing career. ~ Hal Erickson, All Movie Guide

The wolves of the Arctic Circle and its environs, the stunning beauty of a Northern winter, a biologist who braves it all to record the lives of the wolves, and Inuits who save the biologist's hide and share their own wisdom openly are all winners in this film that is a tribute to the skills of writer and director Carroll Ballard (The Black Stallion). Based on Farley Mowat's autobiographical novel of the same name, Tyler (Charles Martin Smith) is a normal biologist until he gets up into the Arctic winter in order to prove that the caribou herds are not being decimated by wolves; then he becomes a semi-klutz, unable to instinctively adapt to the deep freeze around him. After he sets up his first stake-out, a native Inuit named Oolek (Zachary Ittimangnaq) comes along to help him out and gets him better established in an isolated hut, where Tyler is left to fend for himself again. That he does, but not because he can see in advance what his needs or problems are going to be -- he just comes up against the worst when it happens and works from there. At the same time, Tyler gets to carefully and closely observe a wolf family he has already dubbed as George, Angeline, and the three pups, and he has several comic interactions with his distant "pets." Oolek and his friend Mike (Samson Jorah) drop by to keep Tyler company for awhile, sharing their observations on nature and life in an easy-going, non-committal manner. With Tyler's perseverance and the knowledge gained from experience and through these conversations, the real culprit in the decimation of the caribou turns out not to have four legs at all. ~ Eleanor Mannikka, All Movie Guide

At 10:20 PM on June 16, 1985, an avuncular chap named Ray Bradbury, sitting at his typewriter in a room overflowing with clutter, introduced the first of HBO's dramatizations of his off-kilter short stories. Strange Tales: Ray Bradbury Theatre is a videotaped collection of three of those stories (though not the first three telecast, as has sometimes been listed). "The Town Where No One Got Off" stars Jeff Goldblum in the tale of a murder scheme gone awry. "The Screaming Woman," previously (and somewhat clumsily) produced as a made-for-TV movie, stars Drew Barrymore as a little girl whose penchant for lies backfires when she hears the sound of a woman's screams emanating from under her feet. And "The Banshee" features Peter O'Toole and Charles Martin Smith in the story of a roguish old film director whose amorous past comes back to literally haunt him (it is said that Bradbury wrote this story to settle an old score with filmmaker John Huston). Strange Tales is so good that one wishes the rest of Ray Bradbury Theater had come up to its standards. ~ Hal Erickson, All Movie Guide

Like the TV series that shared the same title, The Untouchables (1987) was an account of the battle between gangster Al Capone and lawman Eliot Ness, this time in the form of a feature film boasting big stars, a big budget, and a script from respected playwright David Mamet. Kevin Costner stars as Ness, a federal agent who has come to Chicago during the Prohibition Era, when corruption in the local police department is rampant. His mission is to put crime lord Capone (Robert De Niro) out of business, but Capone is so powerful and popular that Ness is not taken seriously by the law or the press. One night, discouraged, he meets a veteran patrolman, Jimmy Malone (Sean Connery), and discovers that the acerbic Irishman is the one honest man he's been seeking. Malone has soon helped Ness recruit a gunslinger rookie, George Stone (Andy Garcia), and, joined by nebbish accountant Oscar Wallace (Charles Martin Smith), the men doggedly pursue Capone and his illegal interests. At first a laughingstock, Ness soon has Capone outraged over his and Malone's sometimes law-bending tactics, and the vain mobster strikes back in vicious style. Ultimately, it is the most unexpected and minor of crimes, tax evasion, which proves Capone's undoing. All of the credits for The Untouchables boasted big names, including music from Ennio Morricone and costumes by Giorgio Armani. Director Brian De Palma continued his tradition of including a homage to past masters of the cinema with a taut stairway shoot-out reminiscent of a similar sequence in Sergei Eisenstein's Battleship Potemkin (1925). ~ Karl Williams, All Movie Guide

This hard-boiled throwback to the film noir dramas of the 1940s and '50s is directed by filmmaker and actor Dennis Hopper, based on the novel Hell Hath No Fury by Charles Williams. Don Johnson stars as Harry Madox, a drifter who settles in a small Texas town and begins secretly setting small fires, setting up his planned heist of the local bank run by eccentric Julian Ward (Jack Nance). To pay the bills while he puts his robbery scheme in motion, Harry gets a job working at a used car lot owned by the ailing George Harshaw (Jerry Hardin), whose promiscuous vamp of a wife, Dolly (Virginia Madsen), immediately begins a torrid affair with Harry. Harry's also powerfully attracted to the gorgeous Gloria Harper (Jennifer Connelly), an innocent, virginal secretary at the car dealership with a dark secret involving a creepy blackmailer, Frank Sutton (William Sadler). The Hot Spot also stars Charles Martin Smith, Barry Corbin, and Leon Rippy. ~ Karl Williams, All Movie Guide

Laurence Fishburne plays no-nonsense LAPD narc Russell Stevens, Jr., who has worked all his life to expunge the memory of his dope-addict father, whom he saw die in a liquor-store robbery. DEA agent Jerry Carver (Charles Martin Smith) orders Stevens to work as an undercover operative on a major case. The cop is to pose as a dealer in order to get the goods on South American drug lord. Stevens is so convincing as a dealer, that he fast works his way up through the ranks and gains the trust of lawyer and narcotics dealer David Jason (Jeff Goldblum) and his sinister associates, all lackeys to the kingpin who is the target of Stevens' assignment. Through a series of fantastic but credible circumstances, Stevens eliminates the lower echelon, getting closer to his quarry, but in the process he finds himself so deep into the sinister and seductive world of the drug trade that he may never get out. In a surprise move, and just when he is about to bring the ringleader down, the DEA pulls the plug on his assignment, because the top dealer, an influential Latin American politician, may someday be useful to the State Department. ~ Hal Erickson, All Movie Guide