Word: scheiderer
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...James Jimirro, a ten-year Disney veteran, has nearly 20 shows in development. One that will appear this fall is Five Mile Creek, a dramatic series set in Australia in the 1860s. Jimirro also plans to make six to eight movies a year. The first, Tiger Town, stars Roy Scheider as a fading phenom for the Detroit Tigers. It will air in October...
Call them the boys of Indian summer. Roy Scheider, 47, and Robert Redford, 46, have both donned pinstripes and taken the field in two new movies about the All-American pastime. In Tiger Town, the first made-for-TV feature for the new Disney cable channel, Scheider plays Billy Young, a fading 39-year-old baseball legend who is spurred on to win a pennant by the faith of an eleven-year-old fan, played by Justin Henry, 12 (Kramer vs. Kramer). Scheider, who broke his nose during an early "career" as a boxer, says that he has always wanted...
This is a defect it shares with whoever conceived Blue Thunder, which is by far the lesser of Badham's back-to-back releases. The film's nominal plot has Roy Scheider as a good Los Angeles police department chopper ace assigned to test what amounts to a flying gun platform. Once he discovers its illiberal potential, he must fight his way past Malcolm McDowell, an old neofascist enemy from his Viet Nam days now employed as a power-elite gunslinger. After that dogfight comes a showdown with a couple of Air Force jets...
Rice is faced with the dilemma that confronts so many psychiatrists--an uncertainly about his work. He questions whether--with all his own personal problems--he is really qualified to solve those of his patients. Roy Scheider brings a rare credibility to his role, freeing his character from the stereotype of the movie psychiatrist. His Dr. Rice is not the self-assured Freudian father figure who sits comfortably back in his chair, doodling on a pad of paper. Instead, Scheider often seems just as unsure of himself as any patient. In one sequence, Rice steals Brooke's keys and sneaks...
...CAMERA STALKS Scheider as he makes his way through the artifacts of the auction house--as if does throughout most of the film. But unlike in more conventional thrillers, this technique is not intended to identify the camera's eye with the murderer's. It represents instead Rice's own attempts to follow his instincts, to rediscover his identity. The sequence pulsates with a natural suspense not found in many film thrillers. The audience doesn't expect to see the killer burst through the door, as might happen in a more contrived film, but Rice's personal tension and psychological...