Robert Earl Jones Movies

Rain Without Thunder is a "pro-choice" tract, expertly packaged in the form of speculative fiction. In a futuristic society, abortion is a crime punishable by a harsh prison term, and all female sexual activity is electronically monitored. When young Ali Thomas chooses not to bring her unborn child to term, she is thrown into jail. And since her mother (Betty Buckley) had driven Thomas to the abortionist, she too is arrested--charged with kidnapping the fetus! The filmmakers wear their ideology on both sleeves, but one cannot deny that Rain Without Thunder drives its point home forcefully. ~ Hal Erickson, All Movie Guide

Combining electric song and dance performances with drama (both on and off screen), Francis Ford Coppola's The Cotton Club (1984) looks back to the 1920s-1930s peak of the legendary Harlem nightclub where only blacks performed and only whites could sit in the audience. Mixing historical figures with characters loosely based on actual people, Coppola and co-writers William Kennedy and The Godfather's Mario Puzo create a panorama of love, crime, and entertainment centered on the Club. Among them are cornet player Dixie Dwyer (Richard Gere, playing his own solos), who escapes psycho gangster "benefactor" Dutch Schultz (James Remar) for a George Raft-type Hollywood career as a gangster film star; Schultz's nubile mistress Vera Cicero (Diane Lane), who loves Dixie against her mercenary instincts; Cotton Club Mob owner Owney Madden (Bob Hoskins) and close associate Frenchy Demarge (Fred Gwynne); Vincent (Nicolas Cage), Dixie's no-good Mad Dog Coll-esque brother; Club tap star Sandman Williams (Gregory Hines), who woos ambitious light-skinned Club singer Lila Rose Oliver (Lonette McKee); and cameos by Charles "Honi" Coles and Cab Calloway impersonator Larry Marshall. Complementing the period story, Coppola evokes the style of '30s gangster movies and musicals through an array of old-fashioned devices like montages of headlines, songs and shoot-outs. Conceived by producer Robert Evans as his crowning achievement and directorial debut, Evans had to hand over the troubled production to Coppola, but the budget spiraled out of control as the script was repeatedly re-written throughout the chaotic shoot. By the time it was released, The Cotton Club's epic production story of power struggles, financial bloat, and even a murder overshadowed the "reunion" of The Godfather's creative team. Neither a Heaven's Gate-sized failure nor a wallet-saving hit like Coppola's Apocalypse Now, The Cotton Club got some favorable critical notices (although it drew fire for subordinating the African American stories). It did not, however, find a large enough audience to justify its expense and controversy, becoming another mark against 1970s "auteur" cinema in increasingly blockbuster-driven 1980s Hollywood. ~ Lucia Bozzola, All Movie Guide

The "nature-nurture" theory that motivated so many Three Stooges comedies is the basis of John Landis's hit comedy. The fabulously wealthy but morally bankrupt Duke brothers (Ralph Bellamy and Don Ameche) make a one-dollar bet over heredity vs. environment. Curious as to what might happen if different lifestyles were reversed, they arrange for impoverished street hustler Billy Ray Valentine (Eddie Murphy) to be placed in the lap of luxury and trained for a cushy career in commodities brokerage. Simultaneously, they set about to reduce aristocratic yuppie Louis Winthorpe III (Dan Aykroyd to poverty and disgrace, hiring a prostitute (Jamie Lee Curtis) to hasten his downfall. When Billy Ray figures out that the brothers intend to dump him back on the streets once their experiment is complete, he seeks out Winthorpe, and together the pauper-turned-prince and prince-turned-pauper plot an uproarious revenge. With the good-hearted prostitute and Winthorpe's faithful butler (Denholm Elliott) as their accomplices, they set about to hit the brothers where it really hurts: in the pocketbook. ~ Hal Erickson, All Movie Guide

Stephen Macht is cast as Joseph Arrow, an unemployed Native American ironworker who breaks into the apartment of a powerful and otherwise unapproachable construction boss, hoping to land a job. But when the boss mistakes him for a burglar, Arrow accidentally kills the man. Though sympathetic to Arrow's plight, Kojak (Telly Savalas) must still track down the reluctant murderer and bring him to justice. ~ Hal Erickson, All Movie Guide

Frank Mansfield (Warren Oates) is a game cock trainer who has taken a vow of silence; he once bragged too loudly about his cockfighting prowess and ended up losing his best fowl in a drunken, late-night match before an important tournament. To regain his pride after such hubris, Frank refuses to utter a word until he wins the coveted "Cockfighter of the Year" medal. Cockfighter follows his ups and downs as he attempts to succeed in the shadowy, barely legal sport. Frank loses his truck, trailer, and a girlfriend after trying to rig a match with fellow cocksman Jack Burke (Harry Dean Stanton), and has to sell his house to raise funds for stock. Later, Frank wins ten roosters in a private backwoods match and trains them heavily with his partner, Omar Baradinsky (Richard B. Shull), working his way back to the top of his chosen craft. He also attempts to reestablish his relationship with an old girlfriend (Patricia Pearcy) who doesn't know much about cockfighting and is repulsed when she actually witnesses one in the flesh. There is plenty of brutal footage included in Cockfighter that will dismay many animal lovers, so those with qualms about the sport should steer clear. ~ Fred Beldin, All Movie Guide

This poorly-wrought drama attempts to raise social consciousness and inspire folks to register for the vote as it chronicles the exploits of an interracial acting troupe who travel about giving a play about voter registration. Set during 1964, the troupe members get along well initially. Eventually personal differences force the group to break up. ~ Sandra Brennan, All Movie Guide

Ex-lawman turned rancher Jed Cooper (Clint Eastwood) is moving a small herd of cattle when a group of nine men on horseback, led by Captain Wilson (Ed Begley Sr.), ride up and accuse him of having stolen the cattle and killed their owner. Refusing to believe his account, they string him up by the neck and leave him for dead, but they don't do the job right. Cooper is dangling there, barely alive, a few minutes later when Deputy U.S. Marshal Bliss (Ben Johnson) spots him and cuts him down. He survives the next few days in Bliss' tumbleweed wagon with the other prisoners, and is later cleared of any wrongdoing and released by Judge Fenton (Pat Hingle), just in time to witness the hanging of the man who really murdered the owner of the cattle and took Cooper's money. Cooper still wants revenge on the nine men who tried to hang him, but Fenton insists that he leave the bringing of them to justice to his deputy marshals. As it happens, Fenton is in desperate need of deputy marshals for the territory that he oversees, and he also knows that Cooper was a good lawman. Cooper, in turn, is now broke and in need of a job, and does want to see justice done. They strike an uneasy bargain, Cooper agreeing to wear a badge and bring in the men he's looking for -- alive -- for trial. The latter proves easier said than done, however, when the first of them that he spots tries to draw on him when he makes the arrest. One of the hanging party, Jenkins (Bob Steele), soon turns himself in and provides the names of the others. Cooper takes Stone (Alan Hale Jr.) alive, but the hapless blacksmith is later shot by the local sheriff (Charles McGraw) while trying to escape. The other men, led by Wilson, have no intention of dying, or even being brought to trial, without a fight. Two of them go on the run out of the territory, while Wilson and two of the others decide to take the law into their own hands once again. Meanwhile, Cooper becomes a hero when he single-handedly brings back a trio of rustlers who are also guilty of murder. This leads to Cooper's first confrontation with Judge Fenton, who, in a gripping scene, explains why it is essential that he be as seemingly quick to hang a man as he is. Unless the people are convinced that the law will do its job -- including hanging men who deserve it -- they will keep taking the law into their own hands and there will be more lynch mobs like the one that tried to kill Cooper. In the course of his quest for justice, Cooper also makes the acquaintance of Rachel (Inger Stevens), a young woman with her own search for justice, haunted by her own ghosts, and the two of them are drawn together, no more so than when Wilson and two of the others try to gun Cooper down in cold blood. The final confrontation between Cooper and Wilson escalates in violence to its savage, irony-laced conclusion. ~ Bruce Eder, All Movie Guide

Filmed in Ohio, One Potato, Two Potato was a "critic's darling" film of 1964 dealing with the then-daring topic of miscegenation. White Barbara Barrie divorces her husband Richard Mulligan, then falls in love with and marries African-American Bernie Hamilton. When the ex-husband sues for custody of Barbara's child, arguing that a mixed household is an improper place to raise the girl, Hamilton fights for his parental rights in court. But the judge is driven by the prejudices of the era, and the child goes back to its natural father. At the time of its release, One Potato, Two Potato was praised beyond all proportion for its realistic and progressive dissection of race relations. Only a few renegade critics like Judith Crist dared to note that sociologically, the film was still mired in the patronizing Pinky era. Instead of concentrating on the injustices heaped upon black Bernie Hamilton, the film's sympathies are almost totally directed towards poor, put-upon, snow-white Barbara Barrie. ~ Hal Erickson, All Movie Guide

Harry Belafonte was both producer and star of this hard-edged film noir crime drama. Dave Burke (Ed Begley, Sr.) is an ex-cop who has been kicked off the force for refusing to inform on his colleagues to the State Crime Committee. Short on money, the former policeman jumps to the other side of the law and plans to knock over a bank in upstate New York. He'll need help, so Burke brings in two other men to assist him -- Johnny Ingram (Belafonte), a jazz musician with an addiction to gambling that's put him deep in debt to gangster Bacco (Will Kuluva), and Earl Slater (Robert Ryan), a disturbed war veteran who hasn't been able to find work after serving time for manslaughter. While their common greed and desperation has brought these men together, their differences threaten to tear them apart, especially when Slater's fear and hatred of black men rises to the surface. Blacklisted screenwriter Abraham Polonsky co-wrote the screenplay for Odds Against Tomorrow, using his friend John O. Killens as a "front." John Lewis of the Modern Jazz Quartet contributed a memorable musical score. ~ Mark Deming, All Movie Guide