William Sylvester Movies

During a smog alert, an old man and a child, both residents of a sanitarium, die of respiratory ailments. Medical examiner Quincy (Jack Klugman) is convinced that the deaths were linked to a nearby oil refinery, which is polluting the air with sulfur emissions. His task now is to prove that the refinery executives have deliberately ignored official warnings to cut back on production during smog emergencies--and as usual, bringing the villains to justice is a lot easier said than done. ~ Hal Erickson, Rovi

Opting for light entertainment after the critical satire of Shampoo (1975), producer-director-writer-star Warren Beatty remade the 1941 comic fantasy Here Comes Mr. Jordan. Dimly amiable L.A. Rams quarterback Joe Pendleton (Beatty) is prematurely called to Heaven by an over-eager escort (Buck Henry, who co-directed) after a traffic accident. When archangel Mr. Jordan (James Mason) discovers the error, he offers to return Joe to his body, only to find that it has been cremated. On the verge of playing in the Super Bowl, Joe demands a fit body rather than the old about-to-be-murdered industrialist Farnsworth he has been offered, but he reconsiders when he sees environmentalist Betty Logan (Julie Christie) in Farnsworth's house. Assuming Farnsworth's body while keeping his sweet self, Joe hires his beloved coach Max Corkle (Jack Warden) to get him in shape (after convincing Max who he really is), sets Farnsworth's business on an eco-friendly path, and romances Betty. Farnsworth's homicidal wife (Dyan Cannon) and secretary (Charles Grodin), however, are still determined to succeed in their plan to kill him. When Mr. Jordan finally finds the Super Bowl body Joe wanted, Joe has to trade his old self for the new life -- but will he remember his love for Betty? Heaven Can Wait offered contemporary yet old-fashioned escapism and tapped into the late-1970s vogue for nostalgic fun, becoming one of 1978's most popular summer movies after Grease. Updating the original while following its blueprint, Beatty and co-writer Elaine May switched Joe's sport and turned Joe into a man of his '70s moment, adoring Betty for her convictions and favoring "green" policies over corporate greed. Gently breathing life into a classic form, Heaven Can Wait found romantic innocence in a jaded time, and it went on to receive nine Oscar nominations, including Best Picture. ~ Lucia Bozzola, Rovi

The Gemini Man (Ben Murphy) is a guy who was exposed to a laboratory mix-up that gave him the power to become invisible at will. With such a skill he's appointed a dangerous task that brings him into contact with a crazed scientist who's involved in a deadly scheme. ~ Rovi

Peter Hyams made his feature-film directing debut with this clumsily paced crime film concerning two Los Angeles vice-squad detectives. Michael Keneely (Eliott Gould) is the swaggering non-conformist and Patrick Farrel (Robert Blake) is the cocky follower. The two cops live for their work and spend most of their time busting call girls, massage parlor employees, and homosexuals. Keneely and Farrel eventually come to the conclusion that every criminal act in Los Angeles is due to the efforts of crime lord Carl Rizzo (Allen Garfield). The boys begin to harass Rizzo to the point of distraction, but their singular attempts to arrest Rizzo cause them to become the targets of, not only the criminal population, but the police force as well. ~ Paul Brenner, Rovi

Described in the original TV Guide listings as "a young movie and TV comer", Martin Sheen essays another bad-guy role for producer Quinn Martin in this episode. Sheen is cast as Steve Chandler, a novice contract killer who goes into hiding from both the FBI and the Mob after bungling a job. On the verge of starting life anew with girlfriend Marcy Brandon (Meg Foster), Chandler realizes with startling suddenness that his days of freedom (and on earth!) might be numbered. ~ Hal Erickson, Rovi

When the governor announces a 52 percent tax hike, the town of Hooterville secedes from the state. Cutting themselves off from their neighbors by sabotaging the bridge over the local swamp, the Hootervillians declare that they are subjects of an independent monarchy. Carrying the situation to its obvious conclusion, the locals select Oliver Douglas (Eddie Albert)as "King Oliver I" -- he won the crown, you see, because he "ate the margarine" (a reference to a then-popular TV ad). This was the final episode of Green Acres to be filmed, but not the final one shown. ~ Hal Erickson, Rovi

When Oliver (Eddie Albert) enrolls in a night-school farming course at Pixley College, Lisa (Eva Gabor) follows suit by signing up for a psychology course. Before long, the citizens of Hooterville are clamoring for the advice of "Dr. Lisa," whose convoluted logic somehow makes sense under the circumstances. Meanwhile, Oliver would like to see Lisa for his own romantic reasons -- but he isn't able to make an appointment! ~ Hal Erickson, Rovi

Robert Lansing is cast as Gunny, a former Army officer dishonorably discharged for desertion, and now the owner of a small freight-hauling concern. Though Ben Cartwright cannot forgive Gunny for his dereliction of duty, he is willing to let the man prove his mettle by delivering three 30-foot beams to a distant construction site-but only after the Cambeau Construction Company has turned down this highly dangerous mission. Once Gunny undertakes the job, the envious Mr. Cambeau (William Sylvester) is keenly interested in the ex-officer's success-or failure. First shown on January 11, 1970, "Danger Road" was written by Milton S. Gelman and Brian McKay. ~ Hal Erickson, Rovi

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi

William Sylvester, the "Token Yank" in several low-budget British horror films of the 1960's (before his rise to fame as Dr. Heywood Floyd in 2001: A Space Odyssey), stars as a grieving widower (both his wife and child were killed in a car accident) who takes an unusual and hazardous job accompanying an archaeologist (Edward Underdown) and his daughter (Diane Clare) on a North African tomb-hunting expedition. After their arrival in Morocco, they learn of legends involving a Moorish vampire who haunts the tomb. Before long, the lonely Sylvester has succumbed to the seductive wiles of a mysterious woman (Alizia Gur), who begins to bend him to her will. It is left to Clare to come to his rescue, but her attempts place her in even greater jeopardy; ultimately it is Sylvester who must break free of Gur's evil clutches and destroy her himself. This passable vampire yarn makes good use of the exotic location but suffers from lethargic performances and a slack pace. ~ Cavett Binion, Rovi

Hugo is mad as heck, and he's not going to take it any more! Hugo is the dummy used by the Great Vorelli, a ventriloquist and hypnotist who wows London with his amazing act. Hugo can walk as well as talk, and he does other interesting things. Neglecting his statuesque mistress Magda, Vorelli pursues a pretty volunteer from the audience named Marianne; he know she is a wealthy heiress, and is after her money as well as her charms. Following a charity concert at Marianne's country estate, he mesmerizes the girl, who then falls into a baffling coma. When (in one of the movie's best sequences) a jealous Magda challenges the hypnotist over his attentions to the younger woman, Vorelli lulls her into submission, then gets rid of her, using Hugo to ensure his own alibi. Marianne's journalist boyfriend Mark investigates the mysterious murder and discovers another killing in Vorelli's past with interesting connections to the present. This underrated British horror story could be the best filmed variation on the "dummy with a soul" theme inaugurated by a brief sequence in Alberto Cavalcanti's classic 1945 anthology Dead of Night and continuing more recently with Magic (1978.) Fine photography by Gerald Gibbs, convincing performances by Bryant Halliday, Sandra Dorne and Yvonne Romain and flawless animation and editing of Hugo's scenes provide a galvanizing elaboration of the original, somewhat skeletal, concept. A rental video is hard to find, but available. ~ Michael P. Rogers, Rovi

In this medical drama, a doctor loses his medical license after his addiction to drugs is discovered. Trouble ensues when he sees an ex-Nazi who is secretly leading the local drug ring. The police get wind of the operation and destroy it. The Nazi is killed too. Meanwhile the doctor overcomes his addiction and regains his license. ~ Sandra Brennan, Rovi