Allan A. Goldstein

Goldstein's directing career got off to a quietly promising start. *The Outside Chance of Maximilian Glick* (1988) — a Canadian drama about a Jewish teenager navigating small-town life — showed he could handle intimate, character-focused storytelling. Around the same time, he directed *The Lawrenceville Stories*, a TV miniseries that ran 1988–89, demonstrating early on that he wasn't limiting himself to one format (IMDb). The 1990s shifted things considerably. *Chaindance* (1991) moved into harder dramatic territory, and then came *Death Wish V: The Face of Death* (1994) — the film that probably defines his mainstream profile more than anything else. Starring Charles Bronson in what would be the last installment of the long-running franchise, it's a lean, no-frills action picture, and Goldstein co-wrote the screenplay, not just directed it (Wikipedia). He followed that with *Memory Run* (1995), another project where he took both directing and writing credits. That pattern — writer-director rather than gun-for-hire — runs through a lot of his 1990s output in a way that doesn't always get acknowledged. *2001: A Space Travesty* (2000) is the other anchor point of his career, a Leslie Nielsen comedy spoof that critics didn't love (17% on Rotten Tomatoes) but that found its audience on home video and cable. Hard to say if Goldstein ever considered it a personal project or a commercial one — but it's the kind of film that keeps his name circulating on streaming platforms years later. His writing credit on *Fire* (2004) suggests he stayed active into the mid-2000s as both a filmmaker and a storyteller (IMDb, Letterboxd). Prolific. Genre-focused. Consistently working.