Pat Golden Movies

Actor-turned-director Tim Reid follows up the success of his 1996 opus Once Upon a Time...When We Were Colored with this tense psychological thriller. The film opens with two upwardly mobile couples having a ball at a fairground. Chance (Blair Underwood) and his very pregnant wife Roberta happily board a Ferris wheel with their best friends Michael (Michael Beach) and his fashion designer wife Lauren (Debbi Morgan) when a freak accident strikes, and Roberta and the baby are killed. Michael and Lauren let Chance grieve at their luxurious abode. Soon Lauren reveals that she recently had a secret abortion because she did not know if the child was Michael's or Chance's. Grief-stricken and jealous, Chance starts stalking Lauren and doing everything in his power to wreck her marriage. This film was screened at the 1999 Chicago Film Festival. ~ Jonathan Crow, Rovi

Struggling musicians vie for success in the hard world of the New York hip-hop scene in this gritty urban drama. Rich (Jeffrey D. Sams) is convinced he has a future as a rapper -- so much so that he leaves his wife and family to go to New York and reach for the brass ring. While scuffling for work, Rich meets another MC, I Tick (Ron Brice), whose roughneck style is a contrast to Rich's smooth delivery. The two rhymers begin working together and soon find that they may have a shot at the big time. The supporting cast includes Maura Tierney, Larry Gillard Jr., and Leo Burmester; rapper MC Lyte contributes to the soundtrack. ~ Mark Deming, Rovi

Writer, director, and star Mario Van Peebles tried to correct historical misconceptions about African-Americans on the frontier with this action-packed western that's also an homage to spaghetti Westerns. During the Spanish-American War, a squadron of black soldiers led by Jesse Lee (Van Peebles) is assigned a dangerous mission behind enemy lines in Cuba by evil Colonel Graham (Billy Zane). Joined by a white gambler, Little J (Stephen Baldwin), the troupe is to recover a chest of gold. Realizing that Graham will slaughter them once they've relinquished the booty, Lee and his men retrieve the chest, wound Graham, and head for home. Ambushed by Graham in New Orleans, the "posse" heads for Lee's hometown of Freemanville, a frontier settlement of ex-slaves. Years ago, Lee's minister father (Robert Hooks) was murdered there by Klansmen, and the gunslinger wants revenge. There's new trouble brewing in Freemanville, however. Sheriff Bates (Richard Jordan), top lawman in neighboring Cutterville, plans to wipe out Freemanville's citizens and sell their lucrative property to a railroad. Then there's Graham, still on Lee's trail. ~ Karl Williams, Rovi

Set in the 1950s, Voyager concerns the travels of an American construction engineer (Sam Shepard) who is wandering throughout Europe, recounting his life story through a series of flashbacks while meeting a variety of new characters. At first, he meets a man whom he knew during his time as a student in Europe in the days before World War II. Shortly afterward, he meets a beautiful young German woman (Julie Delpy), whom he accompanies on a journey to her home in Athens, Greece. ~ Stephen Thomas Erlewine, Rovi

Charles Lane directed Andy Breckman's script, based on an old "Saturday Night Live" sketch of Breckman's that featured Eddie Murphy. Comic Lenny Henry takes Murphy's place in True Identity as a black man forced to don white face in order to save his life. Henry plays Miles Pope, an agreeable British actor whose luck sours when he finds out that businessman Leland Carver (Frank Langella) is actually a notorious underworld mobster. Carver now wants to rub Miles out and the only way that Miles can escape Carver's retribution is to disguise himself as a man named Frank LaMotta, the Italian-American killer that Carver has hired to kill him. During the story, Miles finds that he has to assume a variety of roles to keep from getting shot --a gay real estate agent, a British lord, James Brown's brother Val, and even Othello. But the biggest shock for Miles comes when he plays the white man and discovers that he is given preferential treatment --not only by whites, but also by blacks and Hispanics. ~ Paul Brenner, Rovi

Filmed in front of a packed New York City crowd, the concert film Eddie Murphy: Raw presents the comedian (near the height of his popularity) performing his standup material. The energetic and often extremely raunchy set begins with a series of impressions, most involving some celebrity becoming upset at Murphy for unflattering jokes: a squeaky-voiced Michael Jackson threatens to pummel Murphy into the ground; an enraged Mr. T is confused by Murphy's verbal sleight of hand; and even paragon of calm Bill Cosby loses his cool while chastising the comic for his dirty mouth. After some digressions finding humor in racial differences and other matters, Murphy proceeds into the centerpiece of his act, a series of routines about contemporary relationships between men and women, including an extended bit about what life would be like were he to become married -- jokes that some have criticized as heavily misogynist. Finally, Murphy concludes his set with an extended, comedic but sympathetic, reminiscence about his childhood and family life, a tone that matches that of the film's prologue -- a fictional re-creation of Murphy, in his childhood, entertaining a family gathering with what turns out to be an inappropriately off-color joke. ~ Judd Blaise, Rovi

Oliver Stone's breakthrough as a director, Platoon is a brutally realistic look at a young soldier's tour of duty in Vietnam. Chris Taylor (Charlie Sheen) is a college student who quits school to volunteer for the Army in the late '60s. He's shipped off to Vietnam, where he serves with a culturally diverse group of fellow soldiers under two men who lead the platoon: Sgt. Barnes (Tom Berenger), whose facial scars are a mirror of the violence and corruption of his soul, and Sgt. Elias (Willem Dafoe), who maintains a Zen-like calm in the jungle and fights with both personal and moral courage even though he no longer believes in the war. After a few weeks "in country," Taylor begins to see the naïveté of his views of the war, especially after a quick search for enemy troops devolves into a round of murder and rape. Unlike Hollywood's first wave of Vietnam movies (including The Deer Hunter, Apocalypse Now, and Coming Home), Platoon is a grunt's-eye view of the war, touching on moral issues but focusing on the men who fought the battles and suffered the wounds. In this sense, it resembles older war movies more than its Vietnam peers, as it mixes familiar elements of onscreen battle with small realistic details: bugs, jungle rot, exhaustion, C-rations, marijuana, and counting the days before you go home. This mix of traditional war movie elements with a contemporary sensibility won Platoon four Oscars including Best Picture and Best Director, and a reputation as one of the definitive modern war films. ~ Mark Deming, Rovi

In-between rappin' numbers by groups like Run-DMC and The Fat Boys, an almost unnoticeable plot unfolds as manager Russell (Blair Underwood) desperately looks for funding to press more records for Run-DMC's first hit. This gets him into deep water when he borrows from the wrong man and then is left behind after his performers hit the charts and are off on a better life. But all is not lost, after more rap and rock by everyone, the clan returns with salvation at hand. ~ Eleanor Mannikka, Rovi