FRATERNITY VACATION (1985)--Directed by James Frawley. Stars Stephen Geoffreys, Leigh McCloskey, Sheree J. Wilson, Cameron Dye. Insipid teen sex comedy about a pair of fraternities on spring break in Palm Springs that bet on which of their members will be the first to sleep with the gorgeous but frigid Wilson. Frawley must have been hard up for work; he had previously directed THE MUPPET MOVIE and lots of television, including THE MONKEES, for which he won a Best Director Emmy. Wilson went on to regular roles on DALLAS and WALKER, TEXAS RANGER. Look for Tim Robbins in a supporting role, and sexy scream queens Kathleen Kinmont and Barbara Crampton, who appear topless. Also with John Vernon, Franklin Ajaye, Nita Talbot, Britt Ekland and Amanda Bearse.

FREAKY FRIDAY (1976)--Directed by Gary Nelson. Stars Barbara Harris, Jodie Foster, John Astin, Dick Van Patten, Ruth Buzzi. Amiable Disney comedy about a mother and daughter whose souls are exchanged into each other's bodies. This plot appeared with hackneyed regularity in tame comedies of the '80s. Typical Disney slapstick ensues. Harris and Foster are charming in the lead roles. Marc McClure, Marvin Kaplan, Charlene Tilton, Sorrell Booke, Kaye Ballard, and Patsy Kelly are also in it. From the director of GET SMART AGAIN!

FREDDY VS. JASON (2003)--Directed by Ronny Yu.  Stars Robert Englund, Ken Kirzinger, Monica Keena, Jason Ritter.  Who would have thought any life was left in these 20-year-old franchises?  Considering the seventh NIGHTMARE ON ELM STREET movie was released in 1994 and the tenth FRIDAY THE 13TH thriller, JASON X, grossed less than its $14 million budget just two years earlier, why would anyone believe that a battle royal between the villains of each would hit #1 at the U.S. box office?  But it did, as FREDDY VS. JASON collected more than $60 million in its first two weekends in wide release.

Murdered child molester and supernatural dream killer Freddy Krueger (Englund) is ready to continue murdering teenagers on Elm Street, but can't, since adults in the intervening years since Freddy's last siege have covered up his crimes.  Since today's teens haven't heard of Freddy's exploits, they can't fear him and are thus invulnerable to his sleep attacks.  So Krueger resurrects hockey-masked slasher Jason Voorhees (Kirzinger) and manipulates him into slicing up a few teenagers, striking fear once again into their vapid little hearts.  However, once Freddy arrives to begin a new reign of terror, Jason refuses to leave.  Since Elm Street is only big enough for one unstoppable killing machine, the stage is set for a pair of raging battles between these twin towers of evil, one in Freddy's dream "world" and another at Jason's old killing fields of Camp Crystal Lake.

FREDDY VS. JASON is probably the best "Freddy fights Jason" movie anyone could have made.  I'm not a fan of either franchise, but I have to guess that FvsJ easily makes the Top 3 in both.  Of course, the teenagers are insipid, plagued by boring dialogue by actors of limited resources, but aren't they usually in slasher movies?  Keena (UNDECLARED), she of the Hewittian knockers, and Jason Ritter (son of John) are at least likable, which is more than I can say for the rest of the cast, including a blatant Jason-Mewes-ripoff stoner dude.  Yu is the real hero here, crafting a surprisingly fun old-fashioned slasher movie with enough arterial spray and nudity to send my imagination back in time to 1983, back when exploitation movies actually contained exploitative elements (HALLOWEEN H20, shame on you). I still can't believe how much fun I had at this movie, especially the final half-hour or so, which is splendidly silly.  I'm not exactly sure how New Line Cinema bribed the MPAA into bestowing an R rating, but I'm glad they did, since wallowing in the excessive gore and topless nudity provides most of the fun.  And since FvsJ is so profitable, you can guess that New Line is already lining up its next monster mash.  Hmmmm...the studio also owns the TEXAS CHAINSAW MASSACRE franchise.  Could FREDDY VS. JASON VS. LEATHERFACE be next?  Also with Destiny's Child's Kelly Rowland, Katherine Isabelle, Lochlyn Munro, Chris Marquette, Tom Butler and New Line head Robert Shaye.  Although New Line brought Graeme Revell in to score, portions of Harry Manfredini's and Charles Bernstein's scores for the original films sneak in.  Wes Craven and Victor Miller receive closing-crawl "based on characters created by" credits.

FREE ENTERPRISE (1998)--Directed by Robert Meyer Burnett. Stars Rafer Weigel, Eric McCormack, Audie England, William Shatner. An affectionate display of hero worship towards one of television's greatest heroes that also plays as a sweet, witty romantic comedy. FREE ENTERPRISE is about two 30-year-old friends--Robert (Weigel) and Mark (McCormack), thinly veiled versions of director Burnett and producer Mark A. Altman--who have a lot in common: both work in the entertainment industry (Robert is a film editor of low-budget monster movies, Mark edits a science-fiction magazine), both are unable to sustain any type of prolonged serious relationship with a woman, both are die-hard sci-fi fans who make Saturday afternoon trips to Toys 'R Us in the rain to pick up the latest action figures, and both are major fans of--no, make that fawning worshippers of--actor William Shatner, who portrayed STAR TREK's legendary Captain James T. Kirk as a swaggering, two-fisted, honorable action hero and courageous leader of men.

One day while browsing in a bookstore, Robert and Mark encounter their idol (who's perusing a porn mag). Much to their astonishment, Shatner turns out to be nothing like his smooth Kirk image; he drinks too much, is a bumbler around women, and vainly attempts to get his dream project off the ground: a six-hour musical update of JULIUS CAESAR in which he would play every part, except, of course, for Calpurnia--he has Heather Locklear in mind for that ("I know her", he informs his two new pals). Robert also begins a relationship with a cute girl named Claire (England), whom he meets cute while attempting to buy the same graphic novel in a comic book shop, and this is really the picture's main plotline. Undependable Robert, who would rather buy the latest Criterion Collection LOGAN'S RUN laserdisc than pay his electric bill, learns to mesh his responsibilities with his passions, while more reserved Mark discovers how to loosen up with his feelings. Both turn to Shatner for advice, only to learn that their idol--to whom they've looked for guidance ever since they were kids--is more messed up than they are.

The screenplay by Burnett and Altman tosses in one obscure sci-fi reference after another (some dialogue exchanges are pulled almost verbatim from original TREK episodes), but I think it's possible to enjoy the movie even if you're a complete TREK neophyte, since its central themes of celebrity worship, male bonding, and romance are easy for audiences to connect with. Weigel and McCormack (who landed the part just before starring as one-half of TV's WILL & GRACE) have good chemistry together, and--most importantly--bring likability to their roles as Trekkers who don't dress up in strange costumes or speak to each other in Klingon (like most non-TREK fans seem to assume). England, whose career path would zoom to stardom in a perfect world, is very good as every geek's Dream Date: a cute girl who reads comics and is willing--even eager--to watch a complete set of PLANET OF THE APES laserdiscs.

Much has been written about Shatner's supposedly out-of-control vanity. How he clashed with his TREK co-stars on the set. About his hamminess as an actor. Let me say that it's all hogwash. No actor with an ego as large as Shatner's is supposed to be would allow himself to be portrayed this way. Much like John Malkovich in BEING JOHN MALKOVICH, Shatner bravely takes one shot after another at his image as a secure ladies man. In retrospect, some scenes have an unexpected poignancy since the death of his wife Nerine in 1999, but Shatner is absolutely hilarious in this movie. It's a terrific comedic performance of the type that he hasn't had much chance to do in film. He's so much larger-than-life that he brings a lot of baggage to any role that he plays, which adds to the pleasure of seeing him good-naturedly knock himself around this way.

Also with Patrick Van Horn (SWINGERS), Phil LaMarr (MAD TV), Daniel Schweiger, Dave Parker, Jonathan Slavin, Jennifer Sommerfield, Holly Gagnier, a cameo by Altman and Deborah Van Valkenberg (TOO CLOSE FOR COMFORT) as the object of Shatner's affections. The inventive musical score was composed--believe it or not--by Scott Spock!

FREE HAND FOR A TOUGH COP (1976)--Directed by Umberto Lenzi.  Stars Tomas Milian, Henry Silva, Claudio Cassinelli.  Milian and Silva are almost always entertaining to watch, and this Italian crime film is no exception.  Milian and Cassinelli are policemen trying to rescue a teenage girl kidnapped by Silva and his gang.  She's tied up in a country home, while her would-be rescuers beat the crap out of half of Italy looking for information.  Silva is profane and as over-the-top as usual.  We wouldn't have it any other way.  Music by Bruno Canfora.  Also known as IL TRUCIDO E LO SBIRRO.

FREE, WHITE AND 21 (1963)—Directed by Larry Buchanan.  Stars Frederick O’Neal, Annalena Lund.  It’s hard to dislike Buchanan’s ambitious, adult-themed courtroom drama, because it’s so dagblamed sincere.  I’m sure Buchanan meant well, but his dreary direction and laughable depiction of the law at work make it difficult to take his film seriously.  At least 90% of it takes place on one of two sets:  a dank hotel room where black, middle-aged Ernest Jones (O’Neal) and young Swede Greta Hansen (Lund) shared sexual relations and the courtroom in which Jones is being tried for rape.  It’s a classic he said/she said, and Buchanan shows us both testimonies in flashback.  A ticking clock near the end gives the theater audience time to fill out their jury cards and render their verdicts based upon the evidence presented.  Outside of the dignified O’Neal, the performers are wooden and are left to flounder before the static camerawork.  Since Buchanan films long scenes in one continuous shot (and setup), there’s no way to cut around their robotic line readings.  He wastes about three minutes on a shot of the judge laboriously reading instructions to the (never seen) jury.  Words like “panties” and “spermatozoa” give the film a somewhat naughty feel to match its title, but as a serious examination of race relations in the South, it’s as hopelessly naïve as it is heartfelt.  An attorney’s crossexamination of a dim detective who can’t even remember the name of one of his chief witnesses alerts you that you ain’t watching LAW & ORDER.  Buchanan filmed in Dallas, but it could have been Cucamonga.

FREEBIE AND THE BEAN (1974)--Directed by Richard Rush. Stars James Caan, Alan Arkin, Jack Kruschen. Yes, it's violent, foul-mouthed, fascist, racist, sexist and homophobic...what can I say? I love this movie anyway. I'm not sure, but I think Rush's film was intended to be a spoof of buddy movies. Two unorthodox San Francisco detectives--always-looking-for-a-handout Freebie (Caan) and Mexican family man Bean (Arkin)--are assigned to protect a mobster (Kruschen) from being assassinated before he can be arrested the day after the Super Bowl. In between car chases, crashes, shootouts and enough politically incorrect racial and sexual diatribes for a whole season of ALL IN THE FAMILY, Caan and Arkin manage to deliver very likable performances; they have terrific chemistry together, and it's too bad this was the only time the two teamed on screen. Also with Loretta Swit, Valerie Harper, Christopher Morley, Mike Kellin, Linda Marsh and Alex Rocco. Music by Dominic Frontiere. Robert Kaufman, who scripted AIP beach movies, penned the screenplay from a story by Floyd Mutrux (HOLLYWOOD KNIGHTS). Rush has directed only twice since: 1980's excellent THE STUNT MAN, for which Peter OToole earned a Best Actor Oscar nomination, and 1994's hilarious Bruce Willis vehicle THE COLOR OF NIGHT, which is an absolute must for any bad movie fanatic.

FREEDOM STRIKE (1998)--Directed by Jerry P. Jacobs.  Stars Michael Dudikoff, Tone Loc, Jay Anthony.  I feel as though I’ve seen this movie several times already.  It’s another Royal Oaks military thriller with plenty of stock footage of fighter planes provided by the Department of Defense.  The plot finds U.N. mercenary Dudikoff and his squad plopping into Syria to stop a terrorist (Anthony) who attempted to assassinate the President of the United States and now plans to fire a nuclear missile.  Lots of routine gunplay between bad guys who can’t hit the broad side of a barn and good guys who never miss.  At least Jacobs filled his meaty supporting roles with familiar actors who don’t work enough, including Penny Peyser (THE IN-LAWS) and Ron Harper (GARRISON’S GORILLAS) as news anchors, James Karen (RETURN OF THE LIVING DEAD) as the U.S. President, Felicity Waterman, Nicolas Coster, James Van Patten, Michael Fairman and John Putch.

FREEJACK (1992)--Directed by Geoff Murphy. Stars Emilio Estevez, Rene Russo, Anthony Hopkins, Mick Jagger. SF-tinged action film probably most notable for Rolling Stones lead singer Jagger's first film role since NED KELLY (1970). Emilio is a modern-day racecar driver who is yanked sixteen years into the future by evil corporate head Hopkins to serve as his new body. When Estevez escapes, Hopkins sends bounty hunter Jagger and his goons after him. Script by Ron Shusett, Steve Pressfield and Dan Gilroy contains all kinds of major holes, not the least of which is the fact that the gorgeous Russo (as Estevez's girlfriend) apparently hasn't aged a day during the sixteen years Estevez was missing! Jagger is pretty good as the slimy "bonejacker", and Hopkins has hardly anything to do. Also with Jonathan Banks, David Johansen, Jerry Hall, John Shea and Vincent Schiavelli. Filmed in Atlanta. Based (loosely) on Robert Sheckley's IMMORTALITY, INC. From the director of TV's THE MAGNIFICENT SEVEN 1998 pilot.

FREEWAY (1988)--Directed by Francis Delia. Stars Darlanne Fluegel, Richard Belzer, James Russo. Ad line "You have the right to remain silent...forever!" was swiped from MANIAC COP. A whacked-out ex-priest is cruising the L.A. freeway system, randomly blasting travelers with a .44 Magnum. Cynical ex-cop Russo and lovely widow Fluegel, whose husband was one of the killer's victims, try to stop the mayhem. Also with Michael Callan, Clint Howard and Billy Drago as the psycho.

THE FRENCH CONNECTION (1971)--Directed by William Friedkin. Stars Gene Hackman, Roy Scheider, Fernando Rey, Tony LoBianco. This exciting documentary-style crime drama was nominated for eight Academy Awards, winning five, including for Best Picture. Based on a real 1962 case that was documented in a book by Robin Moore, THE FRENCH CONNECTION revolves around Jimmy "Popeye" Doyle (Hackman), a New York City Narcotics detective out to stop a $32 million heroin smuggling operation. Doyle is flamboyant, obnoxious, racist, tireless and completely obsessed with capturing his opponent, French shipbuilder Alain Charnier (Rey), known to the cops only as "Frog One". We first see Doyle and his equally dedicated partner Buddy "Cloudy" Russo (Scheider) in disguise, staking out a drug dealer. After a lengthy foot chase, the two cops take the pusher into an alley and brutalize him, physically and emotionally, with non sequiter shouts of, "Have you ever picked your feet in Poughkeepsie?"

Later that night, Doyle and Russo (who was slashed in the hand by the pusher) down a few drinks at a nearby club, where they witness an unknown-to-them Sal Boca (LoBianco) gladhanding and free-spending with a group of mobsters. Curious about this new face, the two tail Boca to a small candy store, which he owns and runs with his wife Angie. Their suspicions confirmed, they begin surveilling Boca, which leads them to a wealthy local druglord, Joel Weinstock, and, eventually, to Charnier, whose plans to smuggle drugs into the country involve the use of a well-known French TV star and his expensive brown Lincoln Continental.

The screenplay--credited to Ernest Tidyman (SHAFT), but greatly embellished by Friedkin and real-life "French Connection" cops Eddie Egan and Sonny Grosso, who were the models for the Doyle and Russo characters and served as technical advisors on the film--is complex (as you'd expect, since its drawn from an actual case) and often confusing, although Friedkin's frenetic pace and gritty, street-level direction keep one from noticing. Thanks to his use of hand-held cameras, location shooting during a cold New York winter, the use of untrained actors (sometimes the actual participants in the original case) in supporting roles, and his method of stealing shots on the streets of New York without filing for permits, THE FRENCH CONNECTION has an amazingly authentic look and feel. Doyle's car chase with an elevated train containing a French hitman is one of cinema's best; it isn't surprising to hear Friedkin shot much of it on the fly without blocking off the streets and putting actual pedestrians and motorists in harm's way (despite some close calls, no one was hurt filming the chase).

Surprisingly, Hackman was not the filmmakers' first choice, nor was he ever fully accepted by Friedkin. His Doyle is perhaps the most unlikable action hero in modern American cinema; when he accidentally kills a fellow officer late in the film, he shrugs it off without batting an eye, since he's so narrowly focused on nailing his prey. Hackman and Friedkin make no effort to soften the character or make him more palatable to the audience. Doyle is a brutal, ugly, hateful man, but he's also the "good guy", and Hackman won the Best Actor Oscar, a difficult task considering Doyle's flaws as a hero. The rest of the performances are solid; Scheider received a Best Supporting Actor Oscar nomination as Doyle's "good cop" partner, struggling to keep Popeye under control, and Rey's erudite, suave family man clashes brilliantly with Doyle's thuggishness.

Friedkin, Tidyman and editor Jerry Greenburg (thanks to the stunning car/train chase) also won Oscars; Friedkin would win another for THE EXORCIST. The jangling score is by jazz great Don Ellis, who also worked with producer Philip D'Antoni on his directorial debut, THE SEVEN-UPS, which also starred Roy Scheider and featured one of film's great car chases. Also with supporting turns by Egan and Grosso as cops, Marcel Bozzuffi, Bill Hickman (also the stunt coordinator who drove much of the chase), Fredric de Pasquale, Arlene Farber, Alan Weeks, Al Fann, Randy Jurgensen and The Three Degrees ("When Will I See You Again?"). Hackman returned as Doyle in 1975's FRENCH CONNECTION II, a fine sequel that saw him deliver a performance arguably better. Ed O'Neill (MARRIED WITH CHILDREN) played the character in the made-for-TV POPEYE DOYLE.

FRENCH CONNECTION II (1975)--Directed by John Frankenheimer. Stars Gene Hackman, Fernando Rey. Hackman returns in the role that won him a Best Actor Oscar, indefatigable New York detective "Popeye" Doyle, in this well-crafted sequel filmed entirely in France. Doyle is sent to Marseilles by his superiors to capture Alain Charnier (Rey), the heroin kingpin who escaped from Doyle at the end of THE FRENCH CONNECTION. Although less complex and more action-oriented than the original, FCII adds to Doyle's character by turning him into a smack addict at the hands of Charnier. When the brash American cop makes himself a bit too visible in Marseilles for "Frog One"'s comfort, he is sapped on the head and taken to a seedy hotel, where Charnier's henchmen feed him a steady supply of drugs. After he's fully addicted and Charnier is convinced he knows nothing of the druglord's organization, he's given an overdose and tossed in front of the station house. The scenes of Hackman recovering from his addiction by going "cold turkey" are among the best he's ever played, and it's this startling setpiece which adds weight to what might otherwise have been a typical cop-movie sequel.

Not that Frankenheimer (THE TRAIN) stints on the action scenes. While nothing here approaches the classic car/train chase of William Friedkin's original, a splashy shootout in a soggy ship drydock and Doyle's climactic foot pursuit of Charnier across Marseilles' cobblestone streets lends the film plenty of action legs. Turning the xenophobic Doyle into a fish out of water is an interesting touch as well. Frankenheimer chooses not to use subtitles when characters speak in French, which puts the audience in Doyle's state of confusion. A scene in which Doyle looks for a drinking partner in a local bar and another in which he attempts to interrogate a suspect using his usual psychological wordplay ("Still pickin' yer feet in Poughkeepsie?") demonstrate his lack of control.

From its opening white-on-black titles to its final "ending with a bang", FCII capitalizes on many of the elements that made the original FC a Best Picture Oscar winner. While it isn't up to that film's high standard, this sequel is one of the best ever made, and features a Hackman performance as good as any he's ever performed. Also with Bernard Fresson, Cathleen Nesbitt, Charles Millot and Ed Lauter. Don Ellis once again composed the driving musical score. While it wasn't nominated for any Academy Awards, FCII was recognized by other organizations such as the Writers Guild of America and BAFTA for its high quality. Hackman and Ellis were virtually the only principals from FC to return for this sequel. Producer Robert L. Rosen, who has worked with Frankenheimer several times, got his start on GILLIGAN'S ISLAND!

FRENCH KISS (1995)--Directed by Lawrence Kasdan. Stars Kevin Kline, Meg Ryan, Timothy Hutton. Puffy romantic comedy obviously hoping to follow in the box-office footsteps of SLEEPLESS IN SEATTLE, even borrowing that film's co-star Meg Ryan. Ryan and Hutton are engaged and set to live happily ever after in wedded bliss, until Hutton goes to Paris for a business trip and falls for a ravishing French beauty. Meek history teacher Ryan flies overseas to win him back with the help of Parisian conman Kline (with a funny French accent). Film's subplot involving Kline and a stolen necklace is overshadowed by the budding romance between the scruffy, roguish Kline and the charming Ryan. Films like these basically live and die on the strength of their stars, and these are two of the most appealing comedic performers working in film today. Charming, but Kasdan (GRAND CANYON) could direct a film like this in his sleep.

FREQUENCY (2000)--Directed by Gregory Hoblit. Stars Dennis Quaid, Jim Caviezel, Andre Braugher, Elizabeth Mitchell. In this intriguing time-travel drama, Caviezel plays John Sullivan, a New York City detective still living in the same home in Queens where he grew up. One night after a rough day chasing a serial killer and breaking up with his girlfriend, John pulls out his father's old ham radio. His dad Frank, a fireman and rabid Mets fan, was killed in the line of duty when John was six years old. Due to some wonky atmospheric conditions, John discovers that he's able to talk to his dad thirty years in the past--the week the Amazin' Mets met the Baltimore Orioles in the 1969 World Series and the week in which Frank was killed. Of course John does what you or I would do in the same situation--he warns his father of his impending death. What neither immediately realizes is that, by not dying as he was supposed to, Frank has now changed history, and John's mother Julia (Mitchell) will become the serial killer's next victim unless the two men--working independently thirty years apart--can prevent it. Braugher plays a detective named Satch, an old friend of Frank's and John's partner in the investigation of the serial murders.

Hoblit and scripter Noah Emmerich have constructed an interesting and complex plot that probably doesn't hold much water if one spends much time thinking about it, but the relationship between Quaid and Caviezel is so strong that it's easy to suspend disbelief. Both stars work very well together--ironic in that the two share their scenes filmed separately in front of empty ham radio microphones. FREQUENCY is probably the most sentimental serial-killer thriller ever made--sort of FIELD OF DREAMS meets SEVEN--but the mixture of family drama and police procedural worked for me. As a baseball fan, I appreciated the way real-life events of the '69 World Series were used to punctuate the plot, and, although the climax seems a bit rushed and contrived (even for this type of movie), its' hard to resist this science-fiction crime drama with a heart.

FREQUENCY is the third feature film by six-time Emmy winner Hoblit, following PRIMAL FEAR and FALLEN; I've liked them all. Also with Noah Emmerich (the screenwriter's brother), Shawn Doyle, Melissa Errico, a film clip from THE DICK CAVETT SHOW and the voice of legendary play-by-play broadcaster Curt Gowdy. Music by Michael Kamen. Look for a television clip from HILL STREET BLUES, the series for which Hoblit won four of his Emmy awards.

The movie is not worth much fuss.  It attempts to capture the spirit of New World's "3 Girls" pictures, such as THE STUDENT NURSES and SUMMER SCHOOL TEACHERS, but without the ambitious scripting and professional technical qualities of the Corman factory.  Adamson somehow found somebody, usually his Independent International partner Sam Sherman, to finance dozens of films for him to direct, even though he never got very good at it.  FRESH AIR follows four sexy stewardesses in their day-to-day lives of nonstop flying, partying and getting kidnapped.  You heard me.  In an effort to crank up the excitement level in the final couple of reels (it fails), Adamson and Sherman pull an unconvincing kidnap plot (the kidnappers don't even carry weapons) out of their rears.  Up to that point, FRESH AIR pretty much concentrates on one of the quartet, Debbie (Hoffman), who arrives in Los Angeles from Kansas City in search of herself and sort of finding it in the beds of senior citizen Ben Brewster ('30s cowboy star Livingston) and impotent photographer Cal (Smedley).

Not much about this movie is sexy, funny or interesting, unless you've been wondering what happens to faded B-movie stars after retirement (this was Livingston's first film in about 15 years).  Actually, Connie Hoffman is worth seeing.  One of the most gorgeous starlets to appear in '70s exploitation films, she seems to have disappeared after Adamson's sequel, BLAZING STEWARDESSES, came out the following year.  It's too bad there isn't more of Hoffman on screen.  She's vapid as an actress, but stunningly sexy with a face and hair to match her killer body.  Not that her co-stars are slouches in the sex department, but Hoffman blows them away. 

Joi, perhaps better known as Cleopatra Schwartz in KENTUCKY FRIED MOVIE, is billed as Tracy King.  Also with Donna Desmond, Sydney Jordan (the only stewardess not to appear topless), Al Richardson and very brief bits by Adamson's wife Regina Carrol and Sean Graver, the young son of cinematographer Gary Graver.  A band called Sparrow, which sounds a lot like ABBA, provides the bubblegum pop score.