Shown from left: Rod Steiger (Best Actor, Estelle Parsons (Best Supporting Actress), George Kennedy, (Best Supporting Actor), George Cukor accepting for Katharine Hepburn (Best Actress) Academy Awards Oscars, 1968 Featuring: Shown from left: Rod Steiger (Best Actor, Estelle Parsons (Best Supporting Actress), George Kennedy, (Best Supporting Actor), George Cukor accepting for Katharine Hepburn (Best Actress) When: 10 Jan 2013
Of course it turns out that Poitier's Virgil Tibbs is also a police detective, and in one of cinema's least logical plot twists, he is asked by his supervisors back home to pitch in with the murder investigation. All sides are reluctant, at least until the crime is ultimately solved and everyone comes to understand a bit about the other side of the fence. (How that got Tibbs to stick around in redneck central for two sequels and eight years as a TV show is never really explained.)
Continue reading: In The Heat Of The Night Review
And dazzling it is. One of the most fun and hummable of Rodgers and Hammerstein's many musicals, Oklahoma! took 12 years to make it from its innovative Broadway debut (it was the first musical in which every song related directly to the plot) to the big screen. The story of the romance between cowboy Curly and virginal Laurey (Shirley Jones in full soprano mode), it has plenty of peripheral characters, each of whom gets a song and dance along the way, from slutty Ado Annie (Gloria Grahame) ("I Caint Say No') and her boyfriend Will Parker (Gene Nelson) ("Everything's Up to Date in Kansas City") to the kind-hearted Aunt Eller (Charlotte Greenwood), on whose farm Laurey lives.
Continue reading: Oklahoma! Review
And what jokes they are! The very American Robert Morse stars as a British visitor to L.A., a wannabe poet who gets caught up in the machinations of a cemetary owner (Jonathan Winters) and his top mortician (Rod Steiger in the role of a lifetime). It's more cult than cemetary, and Morse soon becomes enchanted with one the cemetary's guide/beautician/chanteuse (a dippy Anajette Comer). The film haphazardly careens from subplot to subplot, eventually settling into a set piece about a kid obsessed with rockets, which Winters sees as the solution to the problem of running out of space for "loved ones" in the cemetary (aka corpses).
Continue reading: The Loved One Review
That's not to say that Steiger couldn't impart meaning in other ways, and it's a testimony to his abilities that, overdubbed in Italian in Francesco Rosi's 1963 political melodrama Hands over the City, he suffers no noticeable decline in emotive power. (Steiger appeared in films shot in French, German, and Magyar as well.) Playing a ruthless Neapolitan land developer named Edoardo Notolla, Steiger loses the inflection but gains an impressive physicality: He matches the most authentically Italian cast members for gestural speech and his attack-dog demeanor tells you that you oppose him at your own physical and political risk.
Continue reading: Hands Over The City Review
If you want the real biopic on Muhammad Ali, look no further than Muhammad Ali - Through the Eyes of the World, a fascinating new documentary that gives a deep and rich overview of the champ's life, while still imbuing it with plenty of star power.
Continue reading: Muhammad Ali - Through The Eyes Of The World Review
Continue reading: Innocents With Dirty Hands Review
Jeff Saumier stars as Jimmy Albright, the titular kid who wants to box despite the protests of his father. Eventually he decides to train with the grumpy Harry Sloan (Rod Steiger, scary as always) on the sly. There's heartache and subterfuge -- but do you think little Jimmy will eventually face off against his nemesis in the ring anyway? And who do you think will win?
Continue reading: The Kid (1997) Review
If you know the basic plot of End of Days ("Satan visits New York in search of a bride") the question you'll be asking isn't, "Is this a bad movie?" Rather, it will probably be, "How bad can it be?"
Continue reading: End Of Days Review