Joe Lynn Movies

Three Men and a Baby is an Americanized remake of the 1985 French comedy hit Three Men and a Cradle. Tom Selleck, Ted Danson and Steve Guttenberg play three upwardly mobile New York bachelors who share an apartment. Their even-keel lifestyle is thrown out of whack when a young woman leaves a baby on their doorstep, suspecting that film director Danson is the father. The balance of the film is devoted to milking as much humor as possible out of the situation of three urbane young men trying to play nursemaid with nary a clue of what they're doing (at one point, a desperate Selleck offers Guttenberg a thousand dollars if Guttenberg will change a diaper). A subplot involving drug dealers is thrown in to sustain audience interest after our trio of heroes become accustomed to a baby around the apartment. "Urban legend" aficionados please note: That cardboard cutout of Ted Danson briefly glimpsed in one scene of Three Men and a Baby is not the ghost of a little boy who died in the bachelors' apartment before filming started. ~ Hal Erickson, 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

Sidney Lumet's The Wiz is the film version of the popular Broadway musical that retells the events of L. Frank Baum's classic novel The Wonderful Wizard of Oz through the eyes of a young African-American kindergarten teacher who's "never been below 125th Street." Leaving a large family dinner to chase her dog into a snowstorm, Dorothy (Diana Ross) is swept up by a cyclone and transplanted to the land of Oz -- which looks suspiciously like a skewed version of the run-down Manhattan of the late '70s. Landing on top of the Wicked Witch of the East, the puzzled Dorothy is greeted by munchkins who peel themselves from a graffiti mural and sing to her about the Wiz (Richard Pryor), a powerful wizard living in Emerald City who can help her get home. On her journey down the yellow brick road, she encounters a garbage-stuffed scarecrow (Michael Jackson) in a junkyard, a broken-down tin man (Nipsey Russell) caught in the decay of an old amusement park, and a cowardly lion (Ted Ross) posing as a stone statue outside a museum. The quartet tangles with a subway station that comes to life, a poppy den, and a gaggle of motorcycle henchman on their way to the Wiz -- who orders them to kill the Wicked Witch of the West (a sweatshop tyrant) before he will grant them their wishes. The Wiz has about double the large-scale production numbers of The Wizard of Oz (1939), with songs written and composed by Charlie Smalls. ~ Derek Armstrong, Rovi