Norman Jewison

A man is known by the company he keeps. Lawrence "Larry the Liquidator" Garfield is known for the companies he gets rid of. Danny DeVito hilariously deals, connives, wheedles and cajoles as Wall Street buccaneer Larry in this high-yield comedy directed by Norman Jewison (Moonstruck) and based on the hit off-Broadway play. Larry's never met a debt-free corporation he didn't want to devour but he may think twice about New England Wire & Cable. Its ramrod like patriarch (Gregory Peck) has been a fighter all his long life.

In his direction of The Hurricane, veteran filmmaker Norman Jewison understands that slavish loyalty to factual detail is no guarantee of compelling screen biography. In telling the story of boxer Rubin "Hurricane" Carter--who was wrongly convicted of murder in 1967 and spent nearly two decades in jail--Jewison and his screenwriters compress time, combine characters, and rearrange events with a nonchalance that would be galling if they didn't remain honest to the core truth of Carter's ordeal.

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.

Steve McQueen brings his cool fire to the role of the Cincinnati Kid, a small-timer eager to take his chances in high-stakes poker. He gets his chance. Regal, ruthless Lancey Howard (Edward G. Robinson), the elite gambler called the Man, accepts the Kid?s challenge. Norman Jewison (In the Heat of the Night, Moonstruck) directs this taut exploration of back-room gaming, building suspense with each turn of a card. And Ann-Margret, Karl Malden, Rip Torn, National Board of Review Best Supporting Actress Award winner Joan Blondell and many more comprise a full house of talent.

The Russians Are Coming, the Russians Are Coming looks overly cute now, but really, it was pretty hip for 1966. The cold war was in full deep-freeze when this well-meaning comedy tried to thaw things out a little: a Soviet submarine beaches on the New England coast, sending the locals into a paranoid frenzy. The chief pleasure of the film is Alan Arkin as the sub captain; this was Arkin's first major film role, and he had already mastered his exasperated, slow-burning frown (to say nothing of mastering his Russian dialogue).