After losing 9 years 9 months and thirteen days to prison, cowboy J. W. Coop is released to return to life as a professional rodeo cowboy in the 60's. Determined to make up for the lost '... See full summary »
A small-town police chief investigating a murder is offered help by a self-described psychic. However, when the chief discovers that the "psychic" is in possession of information known only... See full summary »
Steven Spielberg created the original story for this film, intending it to be his feature directorial debut. When 20th Century Fox executives assigned the film to another director, Spielberg was so incensed, he swore he would never make a film for Fox. He kept that promise until he directed Minority Report (2002), a co-production between Fox and his DreamWorks. See more »
As Eli flies over Shelby's party, the view from the ground shows the plane banking to the left, but the view from the plane of the ground shows it is banking to the right. See more »
Cliff Robertson as a wily barnstormer in the 1920s who makes his airplane his occupation. With a story by newcomer Steven Spielberg, "Ace Eli" is predictably nostalgic and not uninteresting. It has some sentiment, which is quickly evened out with grit, and a good performance by child actor Eric Shea (aside from his turn as the brainiac in "The Poseidon Adventure", this is Shea's shining moment). Robertson doesn't quite convince as a stud in the skies simply because he's so laconic as an actor; Robertson seems to love planes, but there's no glee in the man as a performer. Had Eli been played as a devilish old rascal, there might be something to the relationship between the flier and the kid, but Robertson isn't into buddyisms (he's not about to play the comic foil, nor is he willing to be a cut-up). The women are a different matter: Pamela Franklin gets most of the screen-time as a flapper, yet she's curt and cold; Bernadette Peters, as a flooze, is much preferable because she's anxious to cut through the baloney. The flying sequences are very good, but director John Erman loses his impetus on the ground, and his details are all wrong (after seeing Robertson apparently getting sick from drinking at a party, Franklin allows him to kiss her on the mouth in a barn--surely not a fancy flapper with a brand new set of wheels!). The poor reception the picture received must have bruised Spielberg (that and the release of the not dissimilar "Paper Moon" the same year). But, aside from some faults, it's an engaging, minor item. **1/2 from ****
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