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_**Oddball drama about outcasts (Sutherland, Boyle and Fonda) starts shaky, but finds its footing**_ A group of misfits in the Oakland area hang out in a junkyard and an abandoned airstrip. They come up with the harebrained scheme of repairing a PBY Catalina flying boat and escaping their troubles. Donald Sutherland plays the black sheep brother of a district attorney (Howard Hesseman) while Jane Fonda is on hand as a high-priced prostitute sorta romanced by the former. Meanwhile Peter Boyle plays an eccentric bloke who used to work in the circus. John Savage is also on hand. "Steelyard Blues" was shot in 1971, but not released until 1973. Sutherland & Fonda were an item after the success of “Klute” (1971), but this one understandably failed at the box office and fell into obscurity. It’s a drama with amusing touches and not a comedy; although it could be described as a black comedy. It tries to be the early 70’s follow-up to iconic counterculture flicks like "Easy Rider" (1969). In any case, it starts shaky and I was concerned that I had stumbled upon a real dog, but it thankfully finds its footing by the second act as the characters are fleshed out. I suddenly found myself involved in their story. Boyle goes over-the-top to entertain and his Brando scene is a highlight. Another good sequence involves the successful brother (Hesseman) and his ‘loser’ sibling (Sutherland) having a melee in a cell. Meanwhile, Fonda’s character is a turn-off, but that’s just me. The movie was released during the height of the backlash over her 1972 trip to North Vietnam earned her the nickname Hanoi Jane. The notable soundtrack fittingly features rockin’ country blues by variations of the Paul Butterfield Blues Band, then known as Better Days; featuring Nick Gravenites and Mike Bloomfield, as well as Maria Muldaur. The movie runs 1 hour, 33 minutes, and was shot in Oakland, California, & places nearby. GRADE: C+
A biopic depicting the life of filmmaker and aviation pioneer Howard Hughes from 1927 to 1947, during which time he became a successful film producer and an aviation magnate, while simultaneously growing more unstable due to severe obsessive-compulsive disorder.
A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
The Limey follows Wilson, a tough English ex-con who travels to Los Angeles to avenge his daughter's death. Upon arrival, Wilson goes to task battling Valentine and an army of L.A.'s toughest criminals, hoping to find clues and piece together what happened. After surviving a near-death beating, getting thrown from a building and being chased down a dangerous mountain road, the Englishman decides to dole out some bodily harm of his own.
A New York press agent must scramble when his major client becomes embroiled in a huge scandal.
Bruno Stroszek is released from prison and warned to stop drinking. He has few skills and fewer expectations: with a glockenspiel and an accordion, he ekes out a living as a street musician. He befriends Eva, a prostitute down on her luck and they join his neighbor, Scheitz, an elderly eccentric, when he leaves Germany to live in Wisconsin.
A man is released from prison and finds the society on the outside less than appealing. With several women as well as the police on his tail, he sets out to find an old friend.
A hardened cop tries to unravel the past to discover whether a violent teenager was responsible for the murder of his family. A confused fifteen-year-old runaway becomes enthralled with the young man.
Four tuxedo clad men showing up at a penitentiary to meet a friend who has just been released after three years in prison and is going straight from the jail to marry his girlfriend. En route to the wedding, one of the men asks to stop by a bank to pick up some cash. As it turns out, he is a wanted bank robber who uses Shakespeare passages during his robberies and thus has become known as "Hamlet". Soon all five men are caught up in the bank and involved in the robbery as they end up in a hostage situation. The hostage negotiator shows up who turns out to be Hamlet's father.
Jenny Marsh, recently released from prison for killing a man, finds herself under the watchful eye of her parole officer, Griff Marat, who helps her secure a job caring for his ailing mother.
Bootleggers on the lam Frankie and Noll split up to evade capture by the police. Frankie is caught and jailed, but Noll manages to escape and open a posh New York City nightclub. 14 years later, Frankie is released from the clink and visits Noll with the intention of collecting his half of the nightclub's profits. But Noll, who has no intention of being so equitable, uses his ex-girlfriend Kay to divert Frankie from his intended goal.
This well-acted drama about an Irishman just released from jail is filled with rich characterization. The story is adapted from a stage play by Walter Macken who also plays the role of the ex-convict Paddo in this screen version. Direction is by J. Fielder Cook. Once Paddo returns home after being sentenced to five years for killing a man, his old friends try to put him back in their niche of local hero but Paddo will have none of it. He is disillusioned and changed. His son Willie (Arthur Kennedy) walks with a limp that keeps him too self-conscious to assert himself as he would like with the young woman of his dreams. While other people come in and out of Paddo's life, from his taciturn friend the trapper to the local tinker, it is Paddo's son Willie suffering from his own disability who makes the difference in his father's life.