Paul Stader Movies

This is almost a follow-up to its relative The Exorcist, since it stars Linda Blair, also the leading lady in the '70s head-spinner tale. In Repossessed, a grown-up Blair plays a housewife who becomes possessed by the Devil while watching TV. Leslie Nielsen plays Father Mayii, who gets called to exorcise the intrusive being. ~ Rovi

A government worker (Tom Bosley) informs several diner patrons of a $4 million treasure he stole from a group of Libyans and then hid, but dies before uttering more than a few clues. What follows is a mad dash for the cash. As part of the film's promotion, the sponsors offered $1 million to the first person to correctly guess the location of the loot. (The winner, Alesia Jones, was selected from over 300,00 entries.) ~ John Bush, Rovi

This undistinguished comedy about life in prison features caricatures of inmates and law enforcement officers, as well as prison guards, in attempts at slapstick action. After Duke Jarrett (Jeff Altman) is put into prison because he had sex with the wife of a government VIP, he discovers that life in the prison is out of control -- until a disciplinarian takes charge. ~ Eleanor Mannikka, Rovi

Irwin Allen's second water-logged disaster film picks up where The Poseidon Adventure left off; Salvagers Michael Caine, Karl Malden and Sally Field enter the Poseidon to take what they can, unaware that evil salvager Telly Savalas and his henchmen lie in wait. When an explosion rocks the ship, the enemies find themselves trapped inside in a battle for survival both against nature and themselves. The good guys pick up some survivors along the way, including Peter Boyle as a stereotypically hot-headed Italian, Mark Harmon as the All-American boy next door, and Slim Pickens as the ship's wine steward in what may be one of the most poorly-written parts of all time. Field looks good in the water, and Caine is charming despite a lack of material, but the merits end there. ~ Jeremy Beday, Rovi

A skyscraper and an all-star cast go up in flames in Irwin Allen's classic disaster movie. To celebrate the construction of the Glass Tower, the world's tallest building, architect Doug Roberts (Paul Newman) and builder James Duncan (William Holden) hold a gala bash on the highest floors. Trouble is, Duncan's son-in-law and electrical subcontractor Roger Simmons (Richard Chamberlain) installed faulty wiring throughout the 138-story behemoth to save money. While the guests -- including Doug's lady friend (Faye Dunaway), a rich widow (Jennifer Jones), a con man (Fred Astaire), and a politico (Robert Vaughn) -- enjoy the party, and a security guard (O.J. Simpson) wonders why his equipment is on the fritz, a burnt-out circuit breaker ignites some garbage on the 85th floor, swiftly turning the high-rise into, well, a towering inferno. With the guests trapped on the 135th floor, it's up to Roberts and Fire Chief O'Hallorhan (Steve McQueen) to find a way to stop the blaze. Though not the first all-star '70s disaster movie (1970's Airport and 1972's The Poseidon Adventure preceded it), The Towering Inferno was the most popular and the most spectacular. In a move that would become more common in late-'90s blockbuster Hollywood, The Towering Inferno's mammoth production was mounted by two studios; screenwriter Stirling Silliphant combined the two novels owned by the studios into one saga. 1970s "shake 'n bake" maestro Allen, with co-director John Guillermin (Allen did the action sequences), tapped into deep fears about the fragility of modern life in the face of extreme natural phenomena, as well as into the envies and insecurities of middle-aged professional men. The Towering Inferno packed theaters and earned eight Oscar nominations, including Best Picture; it won for Cinematography, Editing, and Song. While its heroic, no-nonsense men provided some traditional comfort, The Towering Inferno still might provoke second thoughts about going into a skyscraper. ~ Lucia Bozzola, Rovi

With Howard Hawks's Bringing Up Baby (1938) as his blueprint, Peter Bogdanovich resurrected and payed homage to 1930s screwball comedy in What's Up, Doc? (1972). When wacky co-ed Judy Maxwell (Barbra Streisand, in the Katharine Hepburn part) spies nebbishy musicologist Howard Bannister (Ryan O'Neal in bespectacled Cary Grant mode) in a San Francisco hotel lobby, she decides that Howard and his precious igneous rocks are right up her alley. Too bad Howard already has a fiancée, the propriety-fixated Eunice (Madeline Kahn in her film debut). Using all her arcane knowledge from brief stays at numerous colleges, Judy tries to charm her way to a $20,000 grant for Howard, and Howard himself, at a banquet with grantor Frederick Larrabee (Austin Pendleton). Things get even more complicated the next day when Judy's underwear-filled overnight bag gets mixed up with Howard's rock bag, which gets mixed up with Mrs. Van Hoskins' bag of jewels, which gets mixed up with Mr. Smith's bag of top secret government papers. All sides converge at Larrabee's mod townhouse and the chase begins. Retaining Hawks' machine-gun pace (as well as the sly pop culture referentiality of Billy Wilder), Bogdanovich and writers Buck Henry, David Newman, and Robert Benton updated the opposites-attract screwball convention for contemporary times. O'Neal gently parodied not only Grant but also his own Love Story (1970) preppy, while Kahn represents stiff-wigged 1950s manners as opposed to Streisand's long-haired, pants-wearing free spirit. The happy ending, in which Cole Porter-belting youth wins out over old manners, found favor with audiences, as What's Up, Doc? became one of the most popular films of 1972, and the second hit in a row for Bogdanovich after 1971's The Last Picture Show. ~ Lucia Bozzola, Rovi

Anthony Hopkins stars in this convoluted adventure yarn, scripted by Alistair MacLean. Hopkins is Philip Calvert, a water-logged James Bond. Calvert plays a naval secret-service agent who is assigned to find out why millions of pounds of gold bullion are being stolen under the noses of the British government. Calvert begins his investigations in the bleak Scottish Highlands. Posing as marine biologists, Calvert and his partner Hunslett (Corin Redgrave) find something fishy and hostile among the Scottish inhabitants. They also suspect that the rich and smooth Greek tycoon Sir Arthur Skouras (Jack Hawkins), who lays anchor off the coast in his luxury yacht, may be the culprit behind the pirating of the gold bullion. Calvert and Hunslett look to be wrapping up the case, but then Charlotte (Nathalie Delon) appears. Supposedly Sir Arthur's wife, she ends up dropping her guard and agrees to help Calvert in the retrieval of the gold. ~ Paul Brenner, Rovi

Enchanted Island bears only the faintest traces of its source material, the Herman Melville novel, Typee. 19th century-whalers Abner Dana Andrews and Tom Don Dubbins jump ship, finding refuge on a tropical island inhabited by cannibals. When Tom disappears, Abner jumps to the logical conclusion and vows not to end up in the pot himself. Returning to his ship, Abner is drawn back to the island by Fayaway (a miscast Jane Powell), the tribal chief's daughter, with whom he has fallen in love. The film's "official" synopsis suggests that the story is unresolved at the end; in fact, the film comes to a satisfying if not altogether believable conclusion. Produced in Mexico by Benedict Bogeaus, Enchanted Island was to have been released by RKO Radio, but the collapse of that studio forced Bogeaus to distribute the film through Warner Bros. ~ Hal Erickson, Rovi

This "modern" western stars Rod Cameron as opportunistic Korean war veteran Tully Gibbs. Posing as a friend of the late son of mine owner Kevin Russel (Chill Wills), Tully intends to work the mine for all it's worth and then pull out. By and by, Tully slowly turns honest, but the same cannot be said of rival miner Ben Hodes (John Russell). Coming clean with Russell, Tully takes it upon himself to protect the mine from Hodes' evil schemes. The feminine angle is provided by Joan Leslie as Sarah Moffit, the sweetheart of Russel's deceased son, who eventually finds happiness in Tully's arms. Of interest are two supporting players, Jim Davis and Kristine Miller; both were concurrently starring on the weekly TV series Stories of the Century. ~ Hal Erickson, Rovi

Demetrius and the Gladiators was the sequel to The Robe, and though they were released several months apart, the films were shot at the same time. Based on characters originally conceived by Lloyd C. Douglas, the film stars Victor Mature as the title character, an ex-slave who embraced Christianity after being present at the Crucifixion. Thrown in jail for defending an elderly merchant from a sadistic Roman legionnaire, Demetrius is forced to attend gladiator school and fight in the arena for the amusement of the mad, debauched emperor Caligula (Jay Robinson, likewise repeating his performance in The Robe). The well-proportioned Demetrius attracts the attention of Messalina (Susan Hayward), the nymphomaniac wife of Caligula's would-be successor Claudius (Barry Jones). Briefly losing faith in Christ, Demetrius is saved from himself by the apostle Peter (Michael Rennie). Because of contractual complications, Demetrius and the Gladiators was released to television seven years before The Robe. ~ Hal Erickson, Rovi

Newcomer Kelly Ryan plays Kate, The Outlaw's Daughter, in this medium-scale western. Led astray by outlaw leader Jess (Bill Williams), Kate joins Jess' gang and follows in her dad's footsteps. Town marshal Dan (Jim Davis) tries his best to reform the girl, but this proves difficult inasmuch as Kate holds Dan responsible for her father's death. Only after most of the bad guys have been decimated by Dan does Kate discover the true identity of her dad's murderer. Having fallen in love with Kate, marshal Dan offers to let her escape prosecution, but she's made of sterner stuff than that. ~ Hal Erickson, Rovi

Of the many attempts by Republic Pictures' CEO Herbert J. Yates to turn his lady friend Vera Ralston into a star, Surrender is one of the better efforts. Ralston plays a conscienceless "femme fatale" who works out a complex scheme to secure her financial comfort. The plan, enacted in a western border town, involves bigamy, betrayal, and ultimately murder. She plays one man against another all too well; in the end Vera's perfidy backfires, and she falls victim to her own machinations. Vera Ralston tries hard indeed but the audience can sense that she is basically too nice to be making such mean faces. ~ Hal Erickson, Rovi