Kim Chan Movies

The meteoric popularity of Arthur Godfrey was allegedly the basis of the 1957 drama Face in the Crowd. Andy Griffith makes a spectacular film debut as Lonesome Rhodes, a philosophical country-western singer discovered in a tanktown jail by television talent coordinator Patricia Neal and her assistant Walter Matthau. They decide that Rhodes is worthy of a TV guest spot, the result being that the gangly, aw-shucks entertainer becomes an overnight sensation. As he ascends to stardom, Rhodes attracts fans, sponsors and endorsements by the carload, and soon he is the most powerful and influential entertainer on the airwaves. Beloved by his audience, Rhodes reveals himself to his intimates as a scheming, power-hungry manipulator, with Machiavellian political aspirations. He uses everyone around him, coldly discarding anyone who might impede his climb to the top (one such victim is sexy baton-twirler Lee Remick, likewise making her film debut). Just when it seems that there's no stopping Rhodes' megalomania, his mentor and ex-lover Neal exposes this Idol of Millions as the rat that he is. She arranges to switch on the audio during the closing credits of Rhodes' TV program, allowing the whole nation to hear the grinning, waving Rhodes characterize them as "suckers" and "stupid idiots." Instantly, Rhodes' popularity rating plummets to zero. As he drunkenly wanders around his penthouse apartment, still not fully comprehending what has happened to him, Rhodes is deserted by the very associates who, hours earlier, were willing to ask "how high?" when he yelled "jump". Written by Budd Schulberg, Face in the Crowd was not a success, possibly because it hit so close to home with idol-worshipping TV fans. Its reputation has grown in the intervening years, not only because of its value as a film but because of the novelty of seeing the traditionally easygoing Andy Griffith as so vicious and manipulative a character as Lonesome Rhodes. ~ Hal Erickson, All Movie Guide

When a young, single, neurotic New Yorker finds the perfect woman, he tries desperately to get her to fall for him. Young director Jonathan Kaufer has been compared to Woody Allen with this, his first feature. ~ Kristie Hassen, 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

A man is torn between true love and the lure of fine dining in this romantic comedy. Alby Sherman (Elliott Gould) was born and raised in Brooklyn, where he runs a coffee shop. Alby has dreams of doing bigger and better things, and he works up the courage to ask his rich Uncle Benjamin (Sid Caesar) if he'd be willing to front him the money to open a gourmet restaurant in Manhattan. Benjamin, however, doesn't care for Alby's girlfriend Elizabeth (Margaux Hemingway), mainly because she's Catholic, and he makes Alby an unexpected offer -- he'll give him the money, but only under the condition that he breaks up with Elizabeth and marries a nice Jewish woman. The supporting cast features Carol Kane and Shelley Winters. ~ Mark Deming, All Movie Guide

In a sex-and-violence film that emphasizes the physical abuse of young women, director Joan Freeman may raise the shackles as well as the hackles of her distaff viewing audience. Cookie (Melissa Leo) is a young runaway who arrives in New York City with her brother in tow and ends up working as a prostitute for the apparently easy-going Duke (Dale Midkiff). Everything seems fine, at least as much as can be expected, until one of Duke's streetwalkers threatens to quit, and he nearly beats her to death. Sickened and shocked, Cookie runs away with an infuriated Duke hot in pursuit and unsparing of anyone who gets in his way. The murders, the beatings, the stabbings, and other forms of mayhem weigh heavily in the plot's sequences. ~ Eleanor Mannikka, All Movie Guide

Penny Marshall in her feature film directing debut, four screenwriters, and a ebullient Whoopi Goldberg join forces to make Jumpin' Jack Flash, a modern espionage comedy. Goldberg plays Terry Doolittle, a computer operator in a large New York City bank who picks up a cry of help on her computer. The signal is from a man who signs off as Jumpin' Jack Flash. Based on the Rolling Stones tune of that name, she figures out his secret password and opens up a Pandora's box of international intrigue. It seems Jack Flash is a pseudonym for a British agent who is trapped in Russia and desperate for information from the British Embassy that will help him escape. When Terry agrees to help him, the CIA, the KGB, British intelligence, and sundry other law enforcement organizations are all hot on her tail as she tries to help the beleaguered British agent. ~ Paul Brenner, All Movie Guide

The title refers to the duration of the relationship between self-absorbed Wall Street shark Mickey Rourke and divorced art gallery owner Kim Basinger. Kim is looking for true love, while Mickey is searching for...gosh knows what. His notions of lovemaking include blindfolds, ice cubes, chocolate syrup, and rolling around on spent peanut shells. When the alotted 9 1/2 weeks are up, Kim has finally come to realize that Rourke has been using her. We could have told her that twenty minutes into the film. One of the definitive works in the Mickey Rourke ouevre, 9 1/2 Weeks is deliciously awful, and as such will probably endure as a Camp Classic for the next hundred years. The film is available in both R-rated and unrated versions; either way, it's a hoot. ~ Hal Erickson, All Movie Guide

Wills, an ex-cop (John Larroquette), and Bobby (Bronson Pinchot), who's a psychic, team up as sleuths in Wills's new "Second Sight Detective Agency." To add a little spice, there's a very pretty nun who catches the eye of the laughable detective. ~ All Movie Guide

Robin Williams stars in this oddball comedy about a fast-talking car salesman who is down on his luck and in over his head until an extreme situation forces him to use his sales skills to save lives. Joey O'Brien (Williams) is the stereotypical car salesman: enterprising, aggressive, and desperate to make enough money to spend on his high-maintenance girlfriends. But suddenly the pressure is really on: he owes money to the mob, his ex-wife is nagging him about not spending enough time with their teenage daughter, and if he doesn't sell at least a dozen cars by the time the big sale is over on Saturday, he's going to lose his job. As Joey attempts to placate several potential buyers, his day is interrupted by Larry (Tim Robbins), the insanely jealous husband of dimwitted showroom receptionist Donna (Annabella Sciorra), who's been having an affair with someone who works at the dealership. With the police surrounding the place, his job (and life) on the line, Joey realizes that it's up to him to use his wits to persuade Larry -- who's not even sure what he wants out of the situation -- not to kill anyone. ~ Don Kaye, All Movie Guide

When kickboxer Drew Carson gets humiliated at a local kick-boxing contest, he heads to China to up his credentials. Although he finds no open invite in the Eastern kick capitals, his persistence is rewarded and he's becomes an initiate. ~ Iotis Erlewine, All Movie Guide

Detectives Martin Riggs (Mel Gibson) and Roger Murtaugh (Danny Glover) reteamed for their fourth foray together in this buddy-cop action-comedy series based on characters created by Shane Black. With the passage of years, Murtagh's daughter Rianne (Traci Wolfe) is now about to upgrade Murtagh to grandfather status, while Riggs' relationship with Internal Affairs officer Lorna Cole (Rene Russo) means he'll become a proud papa. Elsewhere on the family front, Chinese triad members in Los Angeles smuggle families from the mainland, but this is only one item on the criminal agenda of triad leader Wah Sing Ku (Jet Li), who executes balletic martial arts maneuvers with blinding speed (fight sequences were staged by Hong Kong director Corey Yuen). The film opens with fire (when Riggs and Murtaugh encounter a flame-thrower in a bulletproof suit) and travels an entertaining popcorn plot path to a frightening, watery climax (which we won't reveal here). In between, Riggs and Murtaugh tackle the troublesome triads with an assist from wickedly witty, sharp-edged newcomer Lee Butters (Chris Rock) and private detective Leo Getz (Joe Pesci), the character first seen as a mob accountant in the second film of this highly popular series. ~ Bhob Stewart, All Movie Guide

A veteran mobster discovers the grass is greener on the other side in this broad independent comedy. Frank (Frank Adonis) is a 60-year-old Mafia lieutenant who has been entrusted with a suitcase full of high-quality marijuana that has arrived in Manhattan from the Deep South and is ready for sale. Frank, however, happens to make the acquaintance of Jade (Theo Kogan), an attractive young woman who sings with a punk-rock band. Jade turns Frank's head, and she, in turn, samples the wares from Frank's suitcase. Jade persuades Frank to try some of the weed, and before long he has a decidedly more forgiving attitude about life and those around him. Frank's new laid-back personality, however, doesn't go over well with his bosses, especially after the stash he was given goes missing and ends up being stolen and re-stolen by a dizzying variety of underground personalities. High Times' Potluck -- which, as the title infers, was produced and financed in part by the well-known marijuana advocacy magazine -- also stars Jason Mews, Frank Gorshin, Sylvia Miles, and Jason Isaacs; noted cannabis enthusiasts Tommy Chong and David Peel also make cameo appearances. ~ Mark Deming, All Movie Guide