Tom Skerritt

Tom Skerritt

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Opening night After Party for Broadway's A Time To Kill

Tom Skerritt - Opening night after party for the Broadway play A Time to Kill, held at the Bryant Park Grill. - New York, NY, United States - Monday 21st October 2013

Tom Skerritt
Tom Skerritt

Opening night Curtain Call for Broadway's A Time To Kill

Patrick Page, Ethan McSweeny, Sebastian Arcelus, John Grisham, Rupert Holmes, John Douglas Thompson, Tom Skerritt and Ashley Williams - Opening night curtain call for the Broadway play A Time to Kill at the John Golden Theatre. - New York, NY, United States - Monday 21st October 2013

Patrick Page, Ethan McSweeny, Sebastian Arcelus, John Grisham and Rupert Holmes
Sebastian Arcelus, John Grisham, John Douglas Thompson and Rupert Holmes
John Douglas, Patrick Page and Sebastian Arcelus
John Douglas and Sebastian Arcelus
Ethan McSweeny, Sebastian Arcelus, John Grisham, Rupert Holmes and John Douglas Thompson

Picture - Tom Skerritt , Thursday 7th June 2012

Tom Skerritt and Afi Life Achievement Award Thursday 7th June 2012 TV Land Presents: AFI Life Achievement Award Honoring Shirley MacLaine

Tom Skerritt and Afi Life Achievement Award

Picture - Tom Skerritt New York City, USA, Saturday 4th September 2010

Tom Skerritt Saturday 4th September 2010 The Film Society of Lincoln Center presents a screening of the 1970 classic film 'MASH' during the series 'Fasten Your Seatbelts: 75 Years of 20th Century Fox held at the Walter Reade Theatre. New York City, USA

Tom Skerritt
Tom Skerritt
Tom Skerritt
Tom Skerritt
Tom Skerritt

Thieves Like Us Review

Those watching Robert Altman's 1974 Depression-era robbers-on-the-run film Thieves Like Us and looking for a Bonnie and Clyde-style antiheroic odyssey -- charismatic young lovers, blaze of glory, the whole deal -- will come away severely disappointed. Altman, fortunately, has other things on his mind than building up legends and stoking the coals of nostalgia. His robbers aren't savage animals, but they're far from dashing; opportunistic, venal, and unable to plan their lives more than five minutes into the future is a more apt description.

A languorous single take opens the film, sweeping across verdant Mississippi countryside being traversed by a railcar carrying a chain gang and armed guards, before spying a couple of other prisoners rowing their way across a pond, chatting about things inconsequential. A third accomplice shows up with a car and some civilian clothes. The car breaks down, they take off on foot. Eventually the trio -- a couple of hard cases, T-Dub (Bert Remsen) and Chickamaw (John Schuck), and one fresh-faced young Ozark farmboy, Bowie (Keith Carradine) previously serving life for a murder committed at 16 -- wind up at a relative's place, where they hide out and plan their first robbery. Because the three, who continually refer to themselves as "thieves," never seem to consider even for a moment to do anything but just keeping on robbing and running. And so they do.

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The Dead Zone Review

One of the more successful entries into the Stephen King horror film genre (and probably the best under the Dino De Laurentiis production label), The Dead Zone is aided in no small part by Christopher Walken in the lead role.

Walken stars as high school teacher Johnny Smith, who wrecks his Beetle and spends five years in a coma, only to discover he now has the gift of second sight. Predicting local tragedies is one thing, but eventually he becomes entangled in a political race (with Martin Sheen running for President), and Johnny foresees that if he wins, disaster will ensue (you know, the nuclear kind).

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M*A*S*H Review

As its opening song tells us, suicide may be painless, but war doesn't look all that bad, either, not the way the storied M*A*S*H tells it.

M*A*S*H isn't just the most successful translation from film to TV show of all time, it's also a masterful movie in its own rite. Maybe Robert Altman's best work (and his first movie of any serious note), though he's barely associated with the film in the popular consciousness now.

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Big Bad Mama Review

William Shatner and Tom Skerritt would probably rather you forget about the infamous Big Bad Mama, one of the best-known exploitation films ever made. Thanks begin with Shatner and Skerritt, both starring as pervy hangers-on to the film's star -- and the reason why Mama is so widely seen -- Angie Dickinson, a 43-year-old bombshell who turns to crime in order to keep her two trollop daughters clothed. Barely.

Using Bonnie & Clyde as its obvious base, producer Roger Corman and director Steve Carver add in a second Clyde, plus a little extra skin in the form of two teenage daughters who always seem to be falling out of their slips. Holding this clan together is Wilma McClatchie (Dickinson), who almost accidentally launches on a career of crime -- robbery, bank heists, and kidnapping, with an unknown goal in sight.

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Top Gun Review

Anyone fondly remembering Top Gun as a prototypical action-packed Jerry Bruckheimer 'nad-fest probably hasn't seen it in awhile. Newly released as a mega-deluxe DVD, it's time to remember what Top Gun really is: From "You've Lost That Lovin' Feeling" to "Take My Breath Away," it's mushy love story first, fighter-pilots-in-training movie second.

Ironically, the early 1990s would bring to light the fact that carousing was what naval pilots seemed to do best: The 1986 Tailhook scandal occured during the same year Top Gun was released.

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Alien Review

The good news: Sigourney Weaver's famous underwear shot, which probably launched millions of now middle-aged men straight into puberty and beyond, has survived Ridley Scott's keen eye in his digitally remastered 2003 director's cut of Alien.

As for the bad news, well, there really isn't any. Alien, first released in 1979 and in theaters right now, has stood the test of time remarkably well. The beautiful and ballsy Weaver is a heroine for all seasons, the movie is suspenseful in all the right spots and it plays beautifully on the big screen with big sound.

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Contact Review

Apparently, we are not alone. And we're beaming The Spice Girls into space.

But seriously, Carl Sagan's ode to the superior intelligence of aliens (and how us darned humans mess everything up) is consistently beautiful and interesting, but it never makes a point (except for that bit about the darned humans). The plot, which gives Jodie Foster schematics from space and focuses on the technical and bureaucratic minutiae that go into the construction of an extradimensional travelling device, is rather on the nose -- and the only real surprises in the film come from its obsession with God (in which the late Sagan did not believe) and the complete and utter disappointment received with the aliens are finally revealed.

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A River Runs Through It Review

Of the six movies Robert Redford has directed to date, A River Runs Through It is his second best, following behind the searing, unforgettable Ordinary People. A specialist in bringing books to life as movies, Redford has a knack for finding what matters in the text and making sure it ends up on screen.

That's vital here because Norman Maclean, on whose novella-length memoir the film is based, was a writer of exceptional grace and economy. This is a simple story that must be told the way he wrote it, and Redford delivers, even using excerpts as the narration he reads. Smart move, Bob.

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Texas Rangers Review

I think it was supposed to come out in 1999, but it was the end of 2001 before Texas Rangers finally rode into movie theaters -- only to ride right out again following a complete lack of publicity. The most interesting anecdote I can remember about the movie's release is an Entertainment Weekly chronology of events on opening day at one theater -- where six people came for the screening.

Following the critically and commercially massacred American Outlaws, Texas Rangers also tried to spin American history with a hippish, young cast, in this case Dawson's Creek star James Van Der Beek, Ashton Kutcher, and Usher Raymond -- as the first recruits of what would become the famous Texas Rangers.

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Smoke Signals Review

To those who think the world of watching movies as a job all fun and games, remember that it is a chore as well. You are forced to sit through numerous bad movies, forced to lose faith slowly and surely in the film industry until it is almost gone. The cynicism you harbor eats you up inside until you have nothing left but your own cruel intentions towards an industry that you have no affinity left for.

Then, as hope has dwindled to an almost non-existent point, you sit back and watch a film like Smoke Signals. Smoke Signals is one of those rare movies that you never hear a bad word about. It is one of those films that comes out of nowhere, has no big names or bad lines, and is a completely original story... in short, the main things most movies lack.

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Tom Skerritt

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