Yates, Cassie

Convoy

Citizen Band radio takes to the freeways for fast-lane thrills and fly-over spills. Trucker "Rubber Duck" (Kris Kristofferson) signals the big 10-4 when he and his unsuspecting ridealong (Ali MacGraw) are chased through three states by a corrupt traffic

F.I.S.T.

Considering that Sylvester Stallone's first film of any real distinction was Rocky, an Academy Award winner for best picture and an instant classic, it's a safe bet that he had free rein when it came to his next project. In F.I.S.T. (released in 1978), he chose a vehicle that matched him with a big-time director (Norman Jewison of In the Heat of the Night and The Thomas Crown Affair renown), a screenwriter on the verge of stardom (Joe Eszterhas, whose future would include Flashdance and Basic Instinct), and veteran actors like Rod Steiger, Peter Boyle, and Tony Lo Bianco. Yet while F.I.S.T. is filmmaking on a grand scale, it also has the underlying themes that made the Rocky Balboa saga such a hit, particularly the plight of the common man as he struggles to maintain his dignity in the face of daunting odds. Stallone portrays Johnny Kovak, a blue-collar worker in late 1930s Cleveland who joins the nascent Federation of Inter-State Truckers (the Teamsters, basically) and rises up through the ranks until, a couple of decades later, he becomes the union's head honcho. Along the way, his ambitions lead to an alliance with organized crime, and while Kovak is an essentially decent fellow, the compromises he's made eventually catch up to him in the form of an investigation by a grandstanding, blowhard U.S. Senator (Steiger) and big trouble with an oily mob boss (Lo Bianco). All of that takes quite a while to play out; at 145 minutes, the movie is too long, especially considering that Jewison and Eszterhas (Stallone co-wrote the script) take an approach that's no more nuanced and subtle than, well, a flying fist. It also seems somewhat dated; viewing it now, in an era when CGI and other effects wizardry would have greatly enhanced some of the bigger scenes (a truckers rally in Washington, confrontations between union members and strike-breaking thugs), one is reminded more of a '70s TV movie that the epic the filmmakers clearly intended to create. The DVD includes no extras. --Sam Graham

Sylvester Stallone stars in this hard-hitting, boldly ambitious drama that powerfully reveals a significant slice of American history. As union leader Johnny Kovak, Stallone's performance confirmed his stature as one of Hollywood's hottest stars. Closely paralleling history, the film follows the rise and fall of Kovak, from his beginnings as an idealistic blue-collar worker to his final position as head of one of the country's most powerful unions: the Federation of Inter-State Truckers. But there are no unscarred heroes in this world. To achieve his dream of justice for the working man, Kovak must accept the muscle of organized crime. Ultimately, F.I.S.T. is a story of idealism corrupted and betrayed. Oscar® winner Rod Steiger (1967 Best Actor, In the Heat of the Night), Peter Boyle and Brian Dennehy are featured in the fine supporting cast. Directed by Norman Jewison, with Laszlo Kovac's darkly moody cinematography and a heroic score by Rocky composer Bill Conti, F.I.S.T. is "a particularly American kind of epic" (Vincent Canby, The New York Times).

The Osterman Weekend

Sam Peckinpah's final film has a lot to recommend it, including a complicated story derived from a Robert Ludlum novel but laced with Peckinpah's hard questions about loyalty and the balance between civilization and basic instincts. Rutger Hauer stars as John Tanner, a television host with strong criticisms of America's cold-war conduct. Looking forward to a weekend of socializing with old friends (played by Craig T. Nelson, Dennis Hopper, and Chris Sarandon), Tanner is approached by a CIA agent (John Hurt) who tells him his friends may be Soviet agents. Tanner agrees to let the spy agency set up surveillance in his house; it turns out there is more to the agent's claims than meets the eye and Tanner's weekend eventually erupts into violence. Osterman is not Peckinpah at his best (though, typically, the director was under siege from production politics), but the maestro of montage certainly worked in some extraordinary action sequences. --Tom Keogh

Unfaithfully Yours

This remake of Preston Sturges's 1948 comedy follows the same plot but doesn't produce nearly as many laughs, though it does have its amusing moments. Dudley Moore is a famous orchestra conductor who is convinced that his wife (Nastassja Kinski) is having an affair with his best friend, a flamboyant violinist (Armand Assante). So he plots an elaborate scheme by which he will kill them both and get away with murder. That fantasy, which he has while conducting an orchestra, rapidly falls apart once he actually tries to put it into motion. Moore and Assante compete for overacting awards, while Kinski was never much of an actress to begin with. Still, this was one of Moore's better roles during his brief bout with stardom in the '80s, and any movie with Albert Brooks (as Moore's venal manager) in it can't be all bad. --Marshall Fine

The remake of the classic with Dudley Moore suspecting Nastasja Kinski of infidelity. Enterprising revenge scenes.

Agatha Christie Collection featuring Helen Hayes as Miss Marple (A Caribbean Mystery / Murder Is Easy / Murder with Mirrors)

In a career that started in silent film in 1917 and ended in the mid-1980s with her splendid take on Miss Marple in this collection, Helen Hayes was inspirational to the end. Her performances in these made-for-television mysteries are absolutely spot-on as Agatha Christie's fearless genteel lady sleuth. This collection features three rollicking tales, Murder Is Easy costarring Bill Bixby, a still-radiant Olivia de Havilland, and a young Jonathan Pryce; A Caribbean Mystery, with Barnard Hughes and Swoosie Kurtz; and the grande-dame-duet Murder With Mirrors, with Hayes playing opposite her onetime real-life nemesis, Bette Davis. Mirrors alone is worth the price of the set, as Hayes is in fine form, completely un-vain and sweetly droll. As she heads toward a country manor to visit her "dear friend" Carrie Louise (Davis), she's informed of the vast changes that have undergone the estate; Carrie Louise's husband, a philanthropist, has decided to open the grounds to rehabilitate juvenile delinquents. As Miss Marple is being told some of the youthful offenders' stories, she's utterly unflappable. Told that one particular young man was caught flashing parishioners at St. Paul's, Hayes' Marple mutters, "We all must worship in our own way, I suppose." Davis, in one of her last film performances, plays a woman who may--or may not--be being slowly poisoned to death, but regardless is frail and slightly incoherent. Davis herself looks quite frail herself, and her line delivery seems a bit uncertain--perhaps extremely effective Method acting, or perhaps she was indeed as frail as she looks; either way, film fans won't want to miss this. It's chilling--and unforgettable. --A.T. Hurley

There may be no such thing as the perfect crime. But perfect crime entertainments are as easy as 1...2...3... in this star-packed set. First, sunshine and murder are just what the doctor orders when a physician-prescribed vacation plunges Miss Marple into A CARIBBEAN MYSTERY. MURDER IS EASY asks: Can a computer catch a killer? And MURDER WITH MIRRORS teams Leo (Rumpole) McKern with Hayes' Marple in a case of manor-house intrigue. Happy sleuthing!

I Don't Buy Kisses Anymore

FM

Los Angeles radio station QSKY has become a ratings juggernaut under the guidance of hip, passionate program director Jeff Dugan (played by Michael Brandon). The executives who own the station naturally see it as an opportunity to make lots and lots of money by flooding the airwaves with ads. Meanwhile, the personal lives of the DJs are also in turmoil: Mother (Eileen Brennan) is burnt out with the radio lifestyle and wants to quit; Doc (Alex Karras) has been losing his audience and is on the verge of being fired; Eric Swan (Martin Mull, in his movie debut) has fantasies about becoming a game show host and ignores his affectionate girlfriend; Dugan himself has the hots for Laura (Cassie Yates), who isn't sure she's ready for a steady relationship. A laid-back comedy, FM is deeply, deeply '70s. It portrays its radio heroes as if they were as significant as the rock music they spin. When the corporate suits try to force Dugan to play ads for the U.S. Army, the DJs occupy the station in protest, setting off a near riot. (The irony, of course, is that the music QSKY plays is all top-40 hits of the '70s.) FM features appearances by Tom Petty, Jimmy Buffet, REO Speedwagon, and extensive concert footage of Linda Ronstadt. --Bret Fetzer

St. Helens

Guns & Lipstick

Convoy