Tom Quinn Movies

An aspiring ballerina from a wealthy family learns some lessons about both dancing and life from a roughneck with soul in this teen drama. Tyler Gage (Channing Tatum) grew up on the wrong side of the tracks in a rough section of Baltimore, and has been in and out of trouble with the law most of his life. Finding himself before the judge yet again, Tyler is sentenced to 200 hours of community service, and he ends up mopping floors at the Maryland School of the Arts. Tyler catches the eye of Nora (Jenna Dewan), a gifted ballet student who is trying to incorporate hip-hop moves into her classical routines. None of Nora's fellow students seem to be on the same page as her, but Tyler is a talented street dancer with strength, moves, and enthusiasm. Despite the misgivings of the school's administrators, Nora persuades Tyler to team up with her for a major class project. Tyler gains a new self-respect as he gives in to the discipline of the dance academy, but he wonders if this new opportunity means turning his back on who he really is. Matters become all the more complicated when Tyler and Nora realize they're falling in love. Step Up was the first directorial credit for choreographer Anne Fletcher, who designed dance routines for the films Bring It On, She's All That, and Boogie Nights. ~ Mark Deming, Rovi

Three homicide investigations -- involving a carjacking, a rape, and a bar fight -- are unfolded in a series of flashbacks from the viewpoint of both the homicide detectives and the victims' families, the latter having formed a support group. A surprise development occurs when the group welcomes a new member -- medical examiner Julianna Cox (Michelle Forbes). Meanwhile, two of the elusive witnesses in one of the three cases compel Pembleton (Andre Braugher), still not fully recovered from his stroke, to embark upon a grueling chase. ~ Hal Erickson, Rovi

A woman dealing with an unexpected death has to help her friends with their own crises in this comedy-drama. Rebecca Lott (Elizabeth Perkins) gets an unpleasant surprise while waiting for her husband to return from his daily jog -- he was hit by a car and instantly killed. A handful of Rebecca's friends and relatives rally around her, including her close friend and neighbor Sylvie (Whoopi Goldberg), her former stepmother Alberta (Kathleen Turner), and her younger sister Lucy (Gwyneth Paltrow), but she has a hard time accepting the fact that she's now a widow (or, as she prefers to put it, "the 'W' word"). It also seems that the women trying to offer Rebecca emotional support could use some of their own; Sylvie's marriage is hanging by a thread, and Lucy is depressed and cynical owing to her inexperience with men. But romance begins to find its way back into Rebecca's life when a handsome younger man (Jon Bon Jovi) -- hired to paint the house -- takes a shine to her. Moonlight and Valentino was based on a play written by Ellen Simon, daughter of comic playwright Neil Simon. ~ Mark Deming, Rovi

Sidney Lumet directed this Larry Cohen-scripted courtroom procedural that owes more than it should to Jagged Edge. Jennifer Haines (Rebecca De Mornay), one of the top female lawyers in the country and flush from the success of defending a gangster, has a new client to defend. A suave ladies man in an Armani suit, David Greenhill (Don Johnson) has come to solicit Jennifer's services. It seems that his rich socialite wife has been pushed to her death through an open window, and David stands to inherit a very large fortune. Needless to say, David is a prime suspect in his wife's murder. David admits to Jennifer the he is a womanizer and an oily manipulator, but nevertheless Jennifer decides to take his case as a challenge -- as she puts it: "People who are guilty are rarely this blunt." The result is an intricate chess game between Jennifer and David as they manipulate events, other people, and each other in order to determine the guilt or innocence of the playboy widower. ~ Paul Brenner, Rovi

A quadriplegic former athlete finds his darkest urges being acted out by an animal familiar in this psychological horror film. When Allan Mann (Jason Beghe) loses the use of his legs and arms in an accident, he becomes bitter -- no surprise given that his girlfriend dumps him for his surgeon, his new nurse (Christine Forrest) is a shrew, and his smothering mother (Joyce Van Patten) keeps threatening to move in and take care of him. Enter Kate McNeil (Melanie Parker), a scientist who is working to provide handicapped people with highly trained animal helpers. Soon Allan is bonding with Ella, an adorable Capuchin monkey, who, unbeknownst to him, has been injected with human brain tissue by drug-addicted scientist Geoffrey Fisher (John Pankow). At first Allan loves little Ella, but the monkey seems to grow jealous as Allan slowly develops a romance with the beautiful Kate. Meanwhile, Allan begins having strange dreams in which he experiences the world from a monkey's-eye point of view. These visions culminate in a fiery nightmare -- the same night Allan's ex-girlfriend and her new lover die in a house fire. Realizing the growing link between his own inner demons and the violence occurring around him, Allan tries to sever the connection with Ella. But the limitations of even his high-tech wheelchair give the psychic primate the upper hand. Written and directed by horror veteran George Romero, Monkey Shines re-teams the filmmaker with his frequent collaborator, Christine Forrest. ~ Brian J. Dillard, Rovi

Amy Irving plays a deaf woman whose ambition is to become a professional dancer in this drama. Rosemarie Lemon is unhappy with the support she is getting from her family for her dreams. She meets a sensitive truck driver, Drew Rothman (Michael Ontkean), and they become lovers. Rothman's family is full of hatred for the world and ridicules his dream of becoming a singer. Their common ambitions and need for support make their relationship stronger, as each pursues a dream. Director Robert Markowitz uses rock & roll songs to fill in the parts in the movie where Lemon's deafness is emphasized. The soundtrack includes tunes by Burton Cummings, Tom Petty, and Willie Nelson. ~ Michael Betzold, Rovi

The final film released under the Andy Warhol moniker (which Warhol executive produced) is a much more polished affair than Flesh, Trash or Heat, but preserves the oddball wit and eccentric flair that made those films so memorable. Directed by Warhol film editor Jed Johnson, Andy Warhol's Bad focuses on Hazel Aiken, a New York housewife who has to support a houseful of relatives on her own. She pays the bills by operating an electrolysis service out of her home and also by running a murder-for-hire service staffed exclusively by women that specializes in unsavory jobs like killing children and house pets. As a result of her latter job, she has to deal with unwanted attention from Detective Hughes, a corrupt cop who wants her to surrender one of her employees so he can make an arrest. Hazel's complex life grows even more difficult with the arrival of her nephew J.T. (Perry King), a sleazy layabout who wants to join her hit squad. As the bodies pile up around her, Hazel discovers that her cold-blooded take on capitalism and family values comes with a price she didn't imagine. Andy Warhol's Bad differs from previous Warhol productions because of its higher production values and Hollywood-friendly casting, but retains its sense of underground credibility thanks to a wild story line that trashes every taboo in arm's reach to create a memorably bizarre satire. Some sources erroneously list the year of release in 1971; it was in fact produced in 1976 and issued to theaters by Roger Corman's New World Pictures in 1977. The MPAA classified that version of the film with an X. It was later reedited to receive an R, which is the version available on video. ~ Donald Guarisco, Rovi

This anthology film tells three stories of love involving the passengers of an ocean liner at sea. In the first, "The Jealous Lover," James Mason plays Charles Coudray, a well-known ballet director. When someone asks Coudray why he staged his masterpiece, "Astarte," only once, he tells the story of Paula Woodward (Moira Shearer), a superb dancer he found practicing in his theater. He was awestruck by her technique and her beauty, but he discovered that she had a secret -- due to a cardiac condition, she has been forbidden to dance too strenuously, as it could tax her heart and eventually kill her. Charles urges Paula to perform for him, so he may use her movements to choreograph his next great work; she agrees, but the exertion proves too much for her and she dies. He arranges for the work she inspired to be performed only once, in hopes that she will somehow see it from on high. In the second segment, "Mademoiselle," Tommy (Ricky Nelson) is a 12-year-old boy travelling with his French governess and tutor (Leslie Caron); she's tired of spending her days watching over a child, and he'd like to get away from Teacher for a while. Mrs. Pennicott (Ethel Barrymore), a older woman who happens to be a witch, hears Tommy wishing he could be a grown-up, and she grants his request: suddenly Tommy is a grown man (played by Farley Granger), but only for the next four hours. The Governess meets the mysterious stranger Tommy has become, and soon they fall in love. In the final segment, "Equilibrium," Kirk Douglas plays Pierre Narval, a high-wire artist who retired from performing after his partner died while performing a trapeze act, an accident Pierre blames on himself. He begins to reconsider his decision when he saves the life of Nina (Pier Angeli), a woman who attempted to drown herself; her husband died in a Nazi concentration camp during World War II, and she feels she is to blame for his death. Their shared fatalism equals fearlessness in Pierre's eyes, and he teaches Nina the art of the trapeze; however, when he begins to fall in love with her, he's no longer so certain that he wants her to risk her life. "The Jealous Lover" and "Equilibrium" were directed by Gottfried Reinhardt, while "Mademoiselle" was directed by Vincente Minnelli. ~ Mark Deming, Rovi

Western star Whip Wilson stars in the Monogram oater Crashing Thru. He periodically displays his whip-wielding skill (which far outclasses his acting ability) to bring a gang of rustlers to heel. In so doing, he rescues Christine Larson from financial ruin and physical danger. Wilson's comic sidekick Andy Clyde again proves that he's got more talent in his little pinky than most cowboy heroes have in their whole carcasses. Crashing Thru was produced by Barney A. Sarecky, later one of the leading lights of TV's Wild Bill Hickok. ~ Hal Erickson, Rovi

Former army pilot Robert Taylor is accused, on the basis of strong circumstantial evidence, of his wife's murder. Suffering from periodic blackouts, Taylor isn't so certain of his innocence himself. When offered a brain operation, Taylor refuses, knowing that if he is proven sane he will be executed for murder. Instead, he opts for confinement in a high-walled veteran's mental institution. A compassionate lady doctor (Audrey Totter) falls in love with Taylor, convincing him to have the operation. Even after emerging from the ether, Taylor cannot remember any of the details concerning his wife's death--but he does recall that the dead woman had recently taken a job with a publisher (Herbert Marshall) of religious books. While the killer's identity is tipped off by this revelation, the audience is never certain that Robert Taylor isn't a murderer--especially since he'd previously appeared as a homicidal maniac in the 1946 film Undercurrent. The best moment in High Wall is the casual disposal of the sole witness to the murder, via a long, dark elevator shaft. ~ Hal Erickson, Rovi

Republic Pictures attempted to mix the popular Zorro sub-genre with a modern crime story in this action serial directed by veterans Spencer G. Bennet and Fred C. Brannon. It was an uneasy mix at best, and after establishing that Dolores Quantaro (Adrian Booth) was indeed the granddaughter of the legendary daredevil, the serial settled down to become a rather drawn-out whodunit concerning the murders of several descendants of a Spanish settler. Attempting to get to the bottom of the carnage, Dolores is aided by crime reporter Cliff Roberts (played by future Superman, Kirk Alyn), but despite their combined efforts, it took another 11 episodes before the culprit was finally unmasked. Adrian Booth had been billed Lorna Gray when playing the evil high priestess Vultura in the earlier, and still fondly remembered, Perils of Nyoka (1942). The brunette starlet went on to some success as a leading lady in Republic Westerns. ~ Hans J. Wollstein, Rovi

Johnny Mack Brown dons a marshal's badge in the Monogram western Border Bandits. Brown's sworn duty is to bring in a gang of crooks whose hideout is on the other side of the Mexican border. Aiding Brown in his task are faithful sidekicks Raymond Hatton and Riley Hill. For reasons unknown, Brown is allowed to sing on occasion, despite the indifference of millions. Border Bandits benefits from the assured direction of veteran horse-opera helmsman Lambert Hillyer. ~ Hal Erickson, Rovi

Deadline at Dawn represented not only the sole film directorial effort of Broadway's Harold Clurman, but also the only cinematic collaboration between Clurman and his former Group Theatre associate, screenwriter Clifford Odets. While on shore leave in New York, sailor Alex (Bill Williams) is slipped a doped-up drink by B-girl Edna (Lola Lane). When he awakens, Alex discovers that she has been murdered. Though he believes that he's the killer, our hero is talked into locating the actual miscreant by philosophical cab driver gus (Paul Lukas) and nightclub dancer June (Susan Hayward). Adapted from a novel by Cornell Woolrich, Deadline at Dawn leans towards pretentiousness at times, but is redeemed by the no-nonsense performance by Susan Hayward. ~ Hal Erickson, Rovi