Marc Coppola Movies

The detectives and the lawyers again run up against the brick wall of military jurisprudence while investigating the death of a Navy pilot. McCoy finally narrows the suspects down to the dead man's lover, also a pilot. Unfortunately, the Navy and the Judge Advocate General form a united front to block further investigation -- and, perhaps, to prevent justice from prevailing. ~ Hal Erickson, Rovi

At first, it appears that a wealthy woman's death was the result of suicide. But as the detectives and the lawyers dig deeper, it becomes obvious that the woman was murdered. This time the suspects include the dead woman's teenaged daughter and the victim's husband -- or, in this case, husbands. Prominent among the supporting cast are such powerhouse performers as Sarah Paulson and Victor Raider-Wexler. ~ Hal Erickson, Rovi

Vampire's Kiss follows the story of yuppie literary agent Peter Loew (Nicolas Cage) as he descends into madness and vampirism. Loew believes he has been bitten by a vampire (Jennifer Beals) and is slowly becoming one himself, despite the contrary opinion of his therapist (Elizabeth Ashley). He then begins to wage a campaign of escalating terror against his secretary and first potential victim, Alva (Maria Conchita Alonso, looking appropriately baffled). Alva begs her parents to let her stay home from work to avoid her unusual boss, but they force her to go on that fateful day, and the plot unfolds. Vampire's Kiss became a cult item on the basis of Cage's outrageous performance: at one point he actually eats a live cockroach. ~ Jeremy Beday, Rovi

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, Rovi