Calfa, Don

Foul Play

Not short on murder, mayhem, or any other screwball '70s conventions, Foul Play is a wonderful vehicle for Goldie Hawn. She plays Gloria, a librarian "ready to take a chance again," who ends up the target of an assassination ring. Chevy Chase, fresh off of Saturday Night Live, does the closest thing to real acting he would ever achieve (okay, maybe Fletch) as Tony, the cop assigned to protect Gloria. Dudley Moore made an indelible impression on American audiences as Stanley Tibbets, a surprisingly kinky symphony conductor. But it's the quirky things that make this film: the grandmothers playing Scrabble with expletives, Burgess Meredith's snake Esme, the old Japanese couple in the back of the careening limo. From the opening credits with Barry Manilow crooning the title song, this is a fond trip down memory lane. --Keith Simanton

The Rose

Bette Midler plays a Janis Joplin-like singer overwhelmed by stardom and its excesses. Mark Rydell (On Golden Pond) directs what is a kind of hybrid showcase for Midler's concert talents and a standard pop biopic, with the usual rhythms of desire, success, betrayal, failure, and such. Alan Bates is the best thing about the movie as the Rose's ruthless manager, and Harry Dean Stanton and Frederic Forrest add some interesting seasoning. But as a whole, the film can't rise above its mixed purposes or clichés. --Tom Keogh

In an Oscar-nominated performance, Bette Midler portays a rock star whose success is laced with so much booze, drugs and hard-living, it eventually causes her downfall. Trapped in a self-created hell Rose begs her manager (Alan Bates) for time off from her concert tour. When he refuses, she seeks compfort and love in the arms of a handsome driffter (Frederic Forrest), but even he cannot handle her life of excess. Electrifying musical numbers, including the hit song "The Rose" make the film a pop culture classic.

Weekend at Bernie's

Weekend at Bernie's starts when two lowly clerks at an insurance agency uncover a $2 million fraud and report it to their boss, Bernie (Terry Kiser). Unfortunately for them, Bernie is the one behind the fraud, and he invites them to his island beach house for the weekend, where he intends to have them killed by his mob contacts. Unfortunately for Bernie, the mob decides to rub him out instead--and thus begin the necrotic hijinks. The clerks, Richard (Jonathan Silverman) and Larry (Andrew McCarthy), arrive and discover Bernie's body. At first they panic and start to call the police, but when a party of islanders sweeps in, Richard and Larry also discover that the local residents are so self-absorbed they don't notice that Bernie is dead. So if our heroes can just convince everyone that Bernie is still alive for they weekend, they can have a splendid time. Unfortunately, they also convince the mob hitman, who keeps trying to take Bernie out. Weekend at Bernie's was made at the height of 1980s fashion and features many amusing outfits and hairstyles--often the styles are funnier than the dialogue, and the characters are tissue-paper thin. Still, there's no denying that the movie chugs along from bit to bit and never takes itself more seriously than it should. A cheerful, disposable piece of fluff. --Bret Fetzer

It sounded like a great weekend away at their boss Bernie's beach side pleasure palace. But when working stiffs Larry and Richard (McCarthy and Silverman) arrive to find a real stiff their murdered boss they're forced to concoct a crazy scheme to avoid being implicated and/or dead themselves! With Bernie propped up and his death effectively covered up, Richard and Larry's weekend getaway becomes exactly that as they dodge curious babes, a curtain of bullets and one confused hit man!

The Postman Always Rings Twice

In The Postman Always Rings Twice Jack Nicholson teamed up again with his Five Easy Pieces and King of Marvin Gardens director Bob Rafelson for this 1981 version of James M. Cain's hardboiled novel of lust and murder. This version takes a much grittier (and sexually explicit) approach to the material than the slick 1946 MGM version starring John Garfield and Lana Turner. Nicholson plays Frank Chambers, a drifter who happens upon a roadside diner run by Cora Papadakis (Jessica Lange) and her swarthy Greek husband, Nick (John Colicos). Sparks fly, and before you can say l'amour fou, Frank and Cora are making the beast with two backs on the kitchen table. One thing leads to another and they conspire to murder Nick. The movie is still a little too cold and distant to fully convey a hot-blooded passion that leads to murder, but it is a strangely haunting and disturbing film nevertheless. The screenplay is by David Mamet, the photography is by the great Sven Nykvist (Ingmar Bergman's cinematographer), and watch for Anjelica Huston in a supporting role. --Jim Emerson

10

One of the best comedies of the 1970s, Blake Edwards's ode to midlife crisis and the hazards of infidelity now plays like a valentine to that self-indulgent decade, and it's still as funny as it ever was. In the signature role of his career (along with "Arthur"), Dudley Moore plays a songwriter with a severe case of marital restlessness, and all it takes is