Ralph Tabakin Movies

Giardello's (Yaphet Kotto) activist friend Sam Thorne (Joe Morton) is shot down after blowing the whistle on a high-scale cocaine operation. The squad searches for the husband of a woman who is still receiving fresh flowers every day, even though she's been dead for two weeks. Munch's (Richard Belzer) business partners desert him over a squabble concerning their new bar. Bayliss (Kyle Secor) is driven to desperation after getting too involved in the private life of a kooky artist. And Felton (Daniel Baldwin) launches a search for his missing children. ~ Hal Erickson, Rovi

Originally telecast in the prime time slot following the 1993 Super Bowl, episode one of Homicide: Life on the Street wastes no time getting started, introducing the viewer to a myriad of characters and no fewer than three murder cases. Newly arrived at the Baltimore PD homicide division from the mayor's office, rookie detective Tim Bayliss (Kyle Secor) is assigned by Lt. Al Giardello (Yaphet Kotto) to investigate a brutal strangulation. Bayliss is teamed with Frank Pembleton (Andre Braugher), the division's prickly lone wolf who balks at working with a partner. Other cases on the "board" involve a woman who has evidently murdered several husbands for the insurance, an assignment given to detectives Medrick Lewis (Clark Johnson) and Steve Crosetti (Jon Polito); the hit-and-run killing of Jenny Goode, a three-month-old case reopened by detectives Stan Bolander (Ned Beatty) and John Munch (Richard Belzer); and a fourth murder, one which Sgt. Kay Howard (Melissa Leo) would rather handle on her own so as not to jeopardize her winning "cases solved" streak, but one for which Howard is reluctantly teamed with Detective Beau Felton (Daniel Baldwin). Barry Levinson won an Emmy award for his direction of this episode. ~ Hal Erickson, Rovi

Worn out by the dead-end investigation of the Watson killing, Bayliss (Kyle Secor) turns on the obstreperous Capt. Barnfather (Clayton LeBouef) and calls him a "butthead." As his ex-partner Thormann (Edie Falco) recovers from her wounds, Crosetti (Jon Polito) closes in on the man whom he thinks pulled the trigger -- and who seems eager to confess whether he's guilty or not. While investigating a double murder, Munch (Richard Belzer) becomes fed up with being constantly compared to Bolander's (Ned Beatty) former partner. And Pembleton (Andre Braugher) and Felton (Daniel Baldwin) search for a car that may be crucial to the outcome of a case. ~ Hal Erickson, Rovi

Bugsy is a character study of mobster Benjamin "Bugsy" Siegel wrapped up in a gangster movie. Siegel (Warren Beatty in a flashy performance) arrives in California in the Forties, assigned to oversee the L.A. rackets. He is quickly seduced by both the glamour of Hollywood and actress Virginia Hill (Annette Bening), whom he romances despite being unable to leave his wife and children. Siegel soon has a vision to transform a barren stretch of Nevada desert into an oasis of gambling and entertainment -- the seeds from which Las Vegas was sown. Funded by his gangster bosses, including Meyer Lansky (Ben Kingsley), the flamboyant Siegel sees his budget soar past its original $6 million, a problem compounded by the fact that Virginia has embezzled $2 million of it. In trouble with his superiors, Siegel flies back to L.A. to face the music, telling Virginia to keep the money. He would not live to see his dream of Las Vegas come true. The film is fast-paced and well-directed by Barry Levinson, with an intelligent script by James Toback and excellent support from Kingsley and Harvey Keitel as gangster Mickey Cohen. ~ Don Kaye, Rovi

Self-centered, avaricious Californian Charlie Babbitt (Tom Cruise) is informed that his long-estranged father has died. Expecting at least a portion of the elder Babbitt's $3 million estate, Charlie learns that all he's inherited is his dad's prize roses and a 1949 Buick Roadmaster. Discovering that the $3 million is being held in trust for an unidentified party, Charlie heads to his home town of Cincinnati to ascertain who that party is. It turns out that the beneficiary is Raymond Babbitt (Dustin Hoffman), the autistic-savant older brother that Charlie never knew he had. Able to memorize reams of trivia and add, subtract, multiply, and divide without a second's hesitation, Raymond is otherwise incapable of functioning as a normal human being. Aghast that Raymond is to receive his father's entire legacy, Charlie tries to cut a deal with Raymond's guardian. When this fails, Charlie "borrows" Raymond from the institution where he lives, hoping to use his brother as leverage to claim half the fortune. During their subsequent cross-country odyssey, Charlie is forced to accommodate Raymond's various autistic idiosyncracies, not the least of which is his insistence on adhering to a rigid daily schedule: he must, for example, watch People's Court and Jeopardy every day at the same time, no matter what. On hitting Las Vegas, Charlie hopes to harness Raymond's finely-honed mathematical skills to win big at the gaming tables; but this exploitation of his brother's affliction compels Charlie to reassess his own values, or lack thereof. A longtime pet project of star Dustin Hoffman, Rain Man was turned down by several high-profile directors before Barry Levinson took on the challenge of bringing Ronald Bass' screenplay to fruition (Levinson also appears in the film as a psychiatrist). All three men won Oscars, and the movie won Best Picture. ~ Hal Erickson, Rovi

The film begins in 1965, when disc jockey Adrian Cronauer (Robin Williams) is assigned to take over the AFR's Saigon radio broadcasts. In contrast to the dull, by-rote announcers that have preceded him, Cronauer is a bundle of dynamite, heralding each broadcast with a loud "Goooooood morning, Vietnaaaaam," playing whatever records tickle his fancy (even those not officially sanctioned by his hidebound superiors), and indulging in wild flights of improvisational fancy. Cronauer's immediate superior Lt. Hauk (Bruno Kirby), whose own notions of humor are puerile and pathetic, jealously attempts to dethrone Vietnam's favorite rock jock. Fortunately, Cronauer's popularity is such that he enjoys the full protection of the higher-ups. But when Cronauer, after experiencing the horrors of war first-hand, insists upon telling his listeners the truth instead of the official government line, he is instantly replaced by the unfunny Hauk and must struggle to get back on the air. ~ Hal Erickson, Rovi

The film version of The Natural pulls off the neat trick of conveying the spirit of the Bernard Malamud novel upon which it is based, even while changing both the outcome and the meaning of Malamud's closing chapters. In his first film appearance in four years, Robert Redford plays Roy Hobbs, a farm boy with a hankering to be a great baseball player. With his faithful homemade bat "Wonderboy" in hand, Roy heads to the big city. En route, he arouses the fascination of the mysterious Harriet Bird (Barbara Hershey). Luring the boy to a hotel room, Harriet asks Roy what he wants out of life. Roy brashly responds he wants to be "the best there is," whereupon Harriet whips out a gun and shoots Roy down. Sixteen years later, a humbler Roy Hobbs emerges from the bush leagues to become a 35-year-old "rookie" on the 1939 lineup of the New York Knights. He soon becomes the team's star player, and in so doing once more attracts enigmatic woman Memo Paris (Kim Basinger), the glamorous niece of the Knights' manager Pop Fisher (Wilford Brimley) and the mistress of Rothstein-like gambler Gus Sands (a curiously unbilled Darren McGavin). Roy's fascination with Memo compromises his ability to play, but this time he finds salvation in the form the angelic Iris Gaines (Glenn Close), his childhood sweetheart. From this point forward, the script for The Natural bears very little resemblance to the Malamud original. Without giving anything away, it can be said that Roy Hobbs is given a once-in-a-lifetime opportunity to compensate for the mistakes of his youth, despite the demonic intrusion of inexplicably spiteful sports writer Max Mercy (Robert Duvall). The Natural elevates the art of slow-motion photography to new heights; while this technique would become precious and boring in later baseball films, it works beautifully here, as does the decision by director Barry Levinson and cinematographer Caleb Deschanel to convey the symbolism inherent in the story in purely visual rather than blatantly verbal terms. (If the characters told you that the story was a retelling of the Camelot legend in baseball terms, would you have watched?) Another plus is the pastoral theme music by Randy Newman, which has been well utilized on sports broadcasts and "human interest" TV documentaries ever since. The baseball scenes in The Natural were staged at War Memorial Stadium in Buffalo, New York. ~ Hal Erickson, Rovi