Joseph Stefano Movies

Shelly Winters and John Randolph star in Death of Innocence as distraught small-town parents who learn that their estranged daughter is on trial for murder. They journey to New York City and attend the girl's trial, where the mother learns several details of her daughter's recent life that she'd rather not know. Filmed at the height of the "generation gap" era, Death of Innocence was based on a novel by Zelda Popkin. One of the better TV movies of 1971, the film was first telecast opposite a George Plimpton "wish fulfillment" special, thereby losing out on the large audience it deserved. Casting note: Kim Stanley was to have played the principal juror, but fell ill before shooting. She was replaced by Ann Sothern--the mother of Tisha Sterling, who plays the defendant in the case! ~ Hal Erickson, All Movie Guide

In this occasionally amusing frolic, Gina Lollobrigida plays a sexy widow who returns to Italy from New York following the death of her husband. Her wealth and good looks entice all the men in her small village except for the one she really wants, the town blacksmith (Dale Robertson). Giuseppe Rotunno's warm cinematography and the irresistible Lollobrigida make this one worth seeing, while the screenplay (by Ettore Margadonna, Luciana Corda, and Joseph Stefano) manages to be clever without being smirky. Look for a funny bit by Vittorio DeSica, who supervised some scenes, as a loquacious priest. This film is also known as both Anna of Brooklyn and Fast and Sexy. ~ Robert Firsching, All Movie Guide

This documentary is a loving look at the cinematic genius of Alfred Hitchcock. Speeding through much of his early British works, the film focuses on his American classics, such as Marnie, Vertigo, and particularly Psycho. The movie also neatly examines Hitchcock's signature touches, from his inevitable brief cameo to his famous MacGuffin. Kevin Spacey narrates, and there are interviews with such film figures as Jonathan Demme, Peter Bogdanovich, and Janet Leigh. Dial H for Hitchcock was screened at the 1999 Denver Film Festival. ~ Jonathan Crow, All Movie Guide

Futz is the tender story of a man and his pig. Seth Allen plays a young farmer whose luck with women ranges from lousy to hopeless. Unable to relate to human females, the poor farmer concentrates all his love and affection upon his prize sow Amanda. The ensuing public uproar is but one of many ingredients to this pure-sixties stew. Director Tom O'Horgan (Hair, Lenny), who managed to turn Futz into a success as a Broadway play, was carried over to the film version - as were many members of the LaMaMa stage troupe responsible for the original play. ~ Hal Erickson, All Movie Guide

When their aging father (Walter Brennan) is convinced his second wife is out to kill him, his four adult daughters gather over the holidays to help make things right, only to find themselves terrorized by a pitchfork-wielding maniac. This made-for-TV thriller was also released as Deadly Desires. ~ Jason Ankeny, All Movie Guide

Independent film director Gus Van Sant attempts a first in American film history: a shot-by-shot remake of the classic 1960 Alfred Hitchcock film Psycho. With a few minor, modern-day changes (including filming it in color), his version is essentially the same film with a different cast and the same Bernard Hermann music. Psycho was and still is the story of Marion Crane (previously played by Janet Leigh and now by Anne Heche), an adulterous woman who steals a stack of money from her boss and hits the road hoping for financial freedom. Pulling over in an old motel for the night, she meets the creepy owner of the Bates Motel, Norman Bates (Vince Vaughn doing his best Anthony Perkins), who lives with his jealous nagging mother. Most people know the film Psycho for what happens next -- the shower scene, where Marion is brutally stabbed in the most over-analyzed scene in movie history. The money, the car, and Marion's remains are quickly sunk in a nearby swamp. As a detective (William H. Macy) and Marion's sister Lila (Julianne Moore) come looking for her, they begin to uncover the dark mysterious secret lurking in Norman Bates' life. ~ Arthur Borman, All Movie Guide

This third sequel to Alfred Hitchcock's classic thriller was originally made for cable television and looks into murderous Norman Bates' traumatic past in hopes of explaining his need to kill. ~ Sandra Brennan, All Movie Guide

Shelley Winters convincingly plays a vengeful mom who imprisons the man she believes is responsible for abducting and murdering her daughter. She tortures him mercilessly in her hostile revenge. ~ All Movie Guide

While piloting the Enterprise's shuttlecraft, Deanna Troi crash lands on Vagra 2. She is promptly taken captive by Armus (Mark McChesney), a sadistic creature capable of altering its shape at will. Taking great delight in tormenting the rescue team, Armus causes the death of Lt. Tasha Yar. The anger and outrage engendered by this tragedy ends up hoisting Armus on his own petard. A truly pivotal episode, "Skin of Evil" was written by old Outer Limits hand Joseph Stefano and Hannah Louise Shearer and was first telecast on April 30, 1988. ~ Hal Erickson, All Movie Guide

A scientist discovers that he isn't an only child in this effects-laden creature feature whose cast includes screen veterans Kim Hunter and Rod Steiger among a host of other, less well-known performers. John Hollins (David Allen Brooks) is delighted to learn that his geneticist mother, Amanda (Hunter), has awoken from her coma years after she suffered a horrible car crash. During their reunion, he learns that she was trying to put an end to a misguided experiment at her home on the night of the accident. Before losing consciousness, Amanda reveals that John has a brother named Anthony. Later, she's murdered by Dr. Phillip Lloyd (Rod Steiger), an old colleague who wants to uncover the secrets of her research. John travels to his large, run-down boyhood home with his girlfriend, a group of pals, and a mysterious acolyte of his mother's named Melissa (Amanda Pays); the group plans to search for clues about Amanda's research and John's supposed sibling. The young scientist soon ascertains that his mother had created some sort of human/aquatic hybrid, but he doesn't realize that the creature was assembled from his own genetic material -- or that it's still alive in the bowels of the house and picking off his friends one at a time. Meanwhile, something's fishy with Melissa, who skulks around, doesn't sleep, tries to seduce John, covers up details of the attacks on his friends, and seems to have some sort of connection to Dr. Lloyd. Co-directors Jeffrey Obrow and Stephen W. Carpenter previously collaborated on the slasher quickie The Dorm That Dripped Blood and on The Power, a made-for-TV horror film. Pays would go on to co-star in the similarly aquatic sci-fi film Leviathan. ~ Brian J. Dillard, All Movie Guide

There is nothing like suspecting your husband of murder to add suspense to a marriage, at least that is the case in this standard whodunit with a compelling plot. George Radcliffe (Gary Cooper) testifies in court against a man suspected of murdering George's business partner, absconding with a lot of cash in the process. Several years later, when his wife, Martha (Deborah Kerr), is confronted by a blackmailer (Eric Portman) who says her husband murdered his partner, she gets suspicious. George did come into a lot of money just at that time. And to make matters worse, life starts to turn very menacing for the confused and frightened Martha. This was Gary Cooper's last feature film. He succumbed to cancer a few months before The Naked Edge was released. ~ Eleanor Mannikka, All Movie Guide

On the night of his wedding in 1929, Harvey Kry (David Frankham) is surprised by an anonymous gift, a box with a single hole containing a lens, through which a strange light emanates. He looks into it and sees a monstrous creature inside, that holds him in the gaze of its single eye -- and then transports the screaming man inside. Thirty-five years later, the Kry house is in decay, occupied solely by Harvey's bride Mary (Miriam Hopkins), now aging and grotesque in her 1920's sequined dress and thick make-up, still awaiting the consumation of her marriage to Harvey. She finds herself entertaining her first guests in years, Gard (Buck Taylor) and Vivia (Melinda Plowman), a young, under-age couple who are eloping, and offers them her bridal chamber. But the box remains in there, amid the unused, still-wrapped gifts; and inside, the creature watches and waits in its own long vigil, to draw others inside. Vivia and, later, her pursuing father (John Hoyt), are both drawn into the box and the void inside, and confront this monster, an extraterrestrial from another space-time continuum, lost in our four-dimensional space and unable to fulfill its mission -- the destruction of the Earth and then our universe. To accomplish this, it needs a human being to help it find its way. Harvey Kry wouldn't do it and, so, has spent 35 years trapped inside the timeless void, looking exactly as he did in 1929, while his increasingly desperate (and insane) bride has waited, and aged, and conspired with the creature. And Vivia is just frightened enough; and her father is just self-centered enough, that one of them might do what it asks. ~ Bruce Eder, All Movie Guide

In Volume 27 of a collection culled from the 1963-1965 science fiction anthology television series, two Earthlings square off against a pair of aliens, with the continued survival of their individual planets promised to the winner. ~ Jason Ankeny, All Movie Guide