Bill Cobbs Movies

Originally airing on the Hallmark Hall of Fame, this made-for-television adaptation of a novel by John William Corrington tells the story of a retired judge who decides to find out why his old pal is refusing to accept the Medal of Honor he should have been awarded years before. ~ Sandra Brennan, All Movie Guide

Forest Whitaker stars as the brilliant jazz saxophonist Charlie "Bird" Parker in this elegiac biopic. Director Clint Eastwood pays full homage to Parker's musical genius, but also devotes ample time to the musician's twin demons--drugs and alcohol-which accelerated his death at the age of 34. In his struggles to gain widespread acceptance for his music, "Bird" is forever stymied by his own self-destructiveness, and forever bailed out by the love of his life, Chan Richardson Parker (Diane Venora). The film bemoans the decline of the brand of jazz fathered by Parker, which came to be replaced by more conventional material -- as illustrated by the "descent" into the mainstream of Parker's mentor Buster Franklin. Also starring in Bird is Samuel E. Wright as Dizzy Gillespie. That's the real Charlie "Bird" Parker on the film's soundtrack, though most of the background music has been re-orchestrated. ~ Hal Erickson, All Movie Guide

Quirky comedy, intense drama, and warm nostalgia are all combined in this eccentric look at one night in 1964 amongst the residents of the Five Corners neighborhood of the Bronx. The bulk of the film concerns Linda (Jodie Foster), a young woman who finds herself stalked by a disturbed rapist fresh out of prison. Needing protection, she turns to her formerly tough ex-boyfriend, only to discover that a recent political awakening has transformed him into a pacifist. The tension of Linda's situation is leavened by the film's attention to its bizarre subplots, which include a stolen penguin, partying teenagers who encounter trouble with an elevator, and a pair of detectives investigating a series of mysterious bow-and-arrow attacks. The script by John Patrick Shanley, who won the 1987 Academy Award for Best Original Screenplay for Moonstruck, manages to (for the most part) bring these seemingly unrelated stories together into a fairly logical conclusion. Even though numerous critics felt that Five Corners' mixture of widely disparate tones was not completely successful, the end result is a surprisingly charming and unique tribute to a time and a place. ~ Judd Blaise, All Movie Guide

Oscar-nominated in 1961 for his performance as pool hustler Fast Eddie Felson in The Hustler, Paul Newman won that award a quarter century later when he reprised the role in The Color of Money. At the end of The Hustler, Felson was banned for life from playing the game professionally. In the intervening years, he has become what the despicable George C. Scott was in the 1961 film: a front man for younger hustlers, claiming the lion's share of the winnings. His latest "client" is arrogant young Tom Cruise, who is goaded into accepting Felson's patronage by his avaricious girl friend Mary Elizabeth Mastrantonio. Cruise learns not only the refinements of the game, but also the dirty trickery that will help him lure in the suckers. As Cruise becomes successful on these terms, Felson seethes with jealousy, hitting the bottle and carelessly allowing himself to fall victim to another hustler. He tells Cruise to get lost, and vows to make an honest comeback. It is inevitable from this point onward that the younger and the older player will square off in a game for the biggest stakes of all: Fast Eddie Felson's self-respect. Both the original Hustler and The Color of Money were based on novels by Walter Tevis. ~ Hal Erickson, All Movie Guide

Director Frank Perry brings Susan Issacs' comedic whodunit novel to the screen with Susan Sarandon as a Long Island housewife who tries to escape her deadening suburban life by trying to solve the murder of a philandering local dentist. The dentist, Bruce Fleckstein (Joe Mantegna), is the kind of swinging ladies' man who wears gold chains and jazzy clothing. He also arranges to meet his lonely housewife patients in hotel rooms for afternoon quickies. When he is found murdered in his office, the suspects are as numerous as the names in the Nyack telephone directory, especially since Fleckstein had the habit of taking incriminating Polaroid snapshots during his one-on-one sessions. Judith Singer (Sarandon) is an ex-Newsday reporter and bored wife of Bob Singer (Edward Herrmann), a stuffy business executive, and she was one of the last people to see Fleckstein alive. Considered a suspect by police detective David Suarez (Raul Julia), she determines to solve the case herself, interviewing suspects and searching for evidence. If she solves the crime, Judith hopes to write an article about it and get her old job back at the newspaper. ~ Paul Brenner, 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

Ron O'Neal stars in this boxing drama. He plays a Baltimore prizefighter named Otis who quit boxing when he accidentally killed a man in the ring. A washed-up fight promoter (Adolph Caesar) trying to get back to the big time teams up with Otis and tries to get him to start fighting again. ~ Brian Gusse, All Movie Guide

Based on the life story of NASCAR auto racing champion Wendell Scott, this film, starring Richard Pryor as Scott, covers his struggles -- from the end of World War II to 1971-- to overcome racism and gain the freedom to demonstrate his winning auto-racing skills to everyone. He is not without support: he has Mary Jones (Pam Grier), his loving wife, a sense of humor, and quite a few good friends, including the white race-car driver Hutch (Beau Bridges). Filmed in the Atlanta area, this movie features performances by folksinger Richie Havens, Julian Bond (later a Congressman), and Maynard Jackson (at one time Atlanta's mayor). ~ Clarke Fountain, All Movie Guide

On a quiet midday in New York, along the Lexington Avenue subway line, the train designated "Pelham One Two Three" -- so named for its station of origin and time of departure -- makes its way down the East Side of Manhattan. One by one, three men board the train, and at 28th Street, a fourth man approaches the motorman (James Broderick) and points a pistol at him, ordering him to unlock the door to his cab and admit the man waiting there; meanwhile, another man points a gun at the conductor and threatens to kill him unless he holds the doors open and then closes them when the man talking to the motorman is aboard. Once on board, "Mr. Blue" (Robert Shaw) and "Mr. Green" (Martin Balsam) halt the train between stations, while "Mr. Brown" (Earl Hindeman) and "Mr. Gray" (Hector Elizondo) seal off the lead car. With Mr. Green at the controls, the front car is separated and isolated in the tunnel with 17 passengers aboard, and then Mr. Blue presents their demands over the radio: one million dollars in cash, within one hour, or they will start shooting one passenger each minute. On the other end, Transit Police Lieutenant Zachary Garber (Walter Matthau) must overcome his initial disbelief to deal with this threat, amid the confusion of a subway system that's chaotic even when it's running normally. With the mayor reluctantly aboard to pay the ransom, Garber must keep the hijackers from carrying out their threat while the money is transported, and keep the hotheads around him and on the police force under control -- and figure out how they intend to get away with a million dollars from inside a subway tunnel with police on all sides. ~ Bruce Eder, All Movie Guide