Greg Finley Movies

Diary of a Mad Black Woman mastermind Tyler Perry turns the familiar Cinderella tale on its head with this story concerning a successful female attorney who falls in love with a financially strapped mechanic. Monty (Idris Elba) is struggling mechanic and single father of three from a poor neighborhood. Upon learning that custody of his beloved daughters has been awarded to his morally bankrupt, drug-dealing ex-wife Jennifer (Tasha Smith), desperate Monty enlists the aid of beautiful Ivy league-educated lawyer Julia (Gabrielle Union) -- whom he recently met during his brief stint as a chauffeur -- in ensuring that his daughters remain with him in a stable and loving environment. Despite the vast social and economical differences that divide them, Monty and Julia soon begin to find themselves unexpectedly falling in love with one another as they work together to save Monty's daughters from a life of crime and corruption. Now, in order to reconcile their blossoming romance and overcome the forces that threaten to destroy the only thing that Monty holds dear, the concerned father and powerful lawyer will have to bridge the gap that divides them by coming together to prove that true love really does have the power to prevail. ~ Jason Buchanan, Rovi

A middle-aged man finds a callow twentysomething usurping his professional life and worming his way into his family in this alternately funny and poignant comedy drama. Dan Foreman (Dennis Quaid) is a middle-aged man who has spent 20 years as the head of advertising sales for "Sports America," a leading athletics magazine. Dan is happily married to Ann (Marg Helgenberger) and has a college-age daughter, Alex (Scarlett Johansson), whom he dotes on, but Dan's comfortable life is given a major shake-up when a large multimedia firm buys the magazine. Seen as a bit long in the tooth to be truly competitive, Dan is demoted to second in command of advertising, and his position is handed over to Carter Duryea (Topher Grace), a 26-year-old who talks a good game about sales but has no practical experience in the field. Dan's wounded ego makes working with the arrogant Carter an uphill battle, but when he learns that Ann is expecting another baby, Dan is in no position to quit. Before long, Dan becomes aware of Carter's intense insecurities about his new job as the younger man reaches out to him for guidance, but this doesn't make Dan any less angry when Carter begins a romance with Alex after his marriage to Kimberly (Selma Blair) crashes and burns. In Good Company marked the solo directorial debut of Paul Weitz; he previously worked in collaboration with his brother Chris Weitz, who serves as producer on this film. ~ Mark Deming, Rovi

The first mainstream animated feature film directly aimed at African American audiences, Hyperion Productions' Bebe's Kids is based on a comedy routine by the late Robin Harris. Voiced by Faison Love, Harris endures a "date from hell" when he goes out with the lovely Jamika. His romantic rendezvous is ruined when he is stuck with Jamika's son-as well as Bebe's kids, three little horrors spawned from three different fathers. The worst of the batch is unhousebroken baby Peewee. The film manages within its 74 minute timeframe to skewer such topics as Hip-Hop music, urban riots and whitebread theme parks. Further proof that this is not a Disney flick was provided by the folks from the Motion Picture Production Code office, who bestowed a PG-13 rating upon the film. Bebe's Kids was released theatrically in tandem with the cartoon short Itsy Bitsy Spider, which was later spun off into a TV series. ~ Hal Erickson, Rovi

Screenwriters Ted Tally and Alvin Sargent adapted the novel by Glenn Savan into this intelligent comedy-drama about a May-December romance where the woman is the senior partner. James Spader is Max Baron, a 27-year-old St. Louis advertising executive who has completely shut himself off from the world in the two years since the auto accident death of his wife. When he meets free-spirited, 43-year-old burger joint waitress Nora Baker (Susan Sarandon), his attraction to the earthy, outspoken woman is immediate and overpowering. The difference in age isn't their only obstacle happiness: Nora's into Marilyn Monroe, drinking beer, and lives in Dogtown, the city's low-rent district, while Max is cultured, sophisticated, and wealthy. Despite their differences, Max and Nora are alike in their suffering and in their deep need for connection, but their charged relationship is put to the emotional test when it becomes clear that Max is hiding his affair with Nora from his upper middle-class, Jewish social circle. White Palace co-stars Renée Taylor, Eileen Brennan, Kathy Bates, Jason Alexander, and Corey Parker. ~ Karl Williams, Rovi

In the late '80s, good-time girl Stacy (Lea Thompson) and her timid friend, Melissa (Victoria Jackson), decide to hit a health spa for singles in hopes of spicing up their unfulfilled sex lives. Afraid of AIDS, Stacy has gone celibate, while Melissa has only ever managed to get it on with two lame guys. Arriving at the resort, the women spend their time working out, flirting with staff members, making friends and enemies with their fellow singles, and avoiding the attentions of the oafish Vinny (Andrew Dice Clay). When a cruel psychologist plays mind games with Melissa, she finds solace with Vinny, then flees the spa, interrupting an incipient romance between Stacy and a cute aerobics instructor. Wendy Goldman and Judy Toll adapted their own stage play, while Casual Sex? provided director Genevieve Robert her only feature credit to date. ~ Brian J. Dillard, Rovi

This silly horror film stars Dean Jagger in a zoned-out performance as a mad scientist whose experiments in halting the aging process have reduced the residents of Smalltown, U.S.A. to shambling zombies. Since his serum requires massive amounts of extracted human pituitary fluid, Jagger is ever on the lookout for more unwilling donors -- i.e. nearly everyone unlucky enough to pass through town. This film is apparently assembled from pieces of two different projects, including an uncompleted film from the mid-'70s, and spiced up with some gratuitous nudity courtesy of former Playboy playmate Lynda Wiesmeier. As expected, the combination doesn't really work -- the editors have made a commendable attempt at maintaining some form of continuity, but the end result seems hardly worth the effort. ~ Cavett Binion, Rovi

An officer of the law becomes a wanted man while trailing a killer in this crime drama. Jack Murphy (Charles Bronson) is a police detective who helped to put Joan Freeman (Carrie Snodgress), a psychotic murderer, behind bars ten years ago. However, Joan is now back on the street and determined to get revenge on Jack. She kills Jack's ex-wife and her new husband, and she cleverly frames the detective for the crime. Jack is arrested and taken into custody handcuffed to Arabella McGee (Kathleen Wilhoite), a rough-and-ready young hoodlum picked up for theft. Jack is able to escape, and has to track down Joan in order to clear his name with Arabella as his unwitting accomplice. Murphy's Law also features Lawrence Tierney and Richard Romanus. ~ Mark Deming, Rovi

While visiting his former partner in an Arizona border town, LA cop Jack Lucarelli witnesses a murder. The killer is white slaver Gerald McRaney-who turns out to be one of local sheriff Wilford Brimley's most trusted deputies. Nobody believes Lucarelli's eyewitness account, not even his ex-partner Jameson Parker, another of Brimley's deputies. Eventually, it dawns on Parker that his department is seething with corruption. He and Lucarelli work secretly to put an end to McRaney's activities, leading inexorably to the film's climactic bloodbath. The otherwise eminently forgettable American Justice is interesting for its reteaming of onetime Simon and Simon costars Jameson Parker and Gerald McRaney, this time on opposite sides of the law. Parker coproduced the film with costar Lucarelli, while one of the film's supporting actors, Dennis A. Pratt, wrote the script . ~ Hal Erickson, Rovi

Panoramic, spectacular landscape shots enhance this wartime action film, but its emphasis on the philosophical and moral issues between Communists and fascists might be long-winded for some audiences. The setting is World War II in a divided and battered Yugoslavia. As the underground Partisans do the best they can to subvert Nazi domination, tension slowly increases. ~ Eleanor Mannikka, Rovi

This action movie chronicles the exciting exploits of a crack crime fighting force. They are notorious for their unusual tactics when dealing with criminals. ~ Sandra Brennan, Rovi

When she's wrongfully convicted for participation in a drug-smuggling ring, a woman (Tracy Bregman) winds up in a women's prison, where she toughens up during several brutal encounters. ~ John Bush, Rovi

Adapted from Dennis Potter's landmark British TV miniseries and relocated to the United States during the Depression, Pennies from Heaven dramatizes how popular songs both shaped and reflected the thoughts of people living through economic (and emotional) hardship. Arthur Parker (Steve Martin) is a sheet music salesman who believes that he can spot a hit a mile away and wants to open his own store. But he can't get a bank loan and his wife Joan (Jessica Harper), who has savings left to her by her father, refuses to give him the money. Also, while Arthur has a fierce sexual appetite, Joan generally refuses his advances. While on the road, Arthur meets Eileen (Bernadette Peters), a shy schoolteacher as desperate for affection as Arthur is hungry for sex. They begin an affair, which leads to tragedy for both. Punctuating the drama of Pennies from Heaven are elaborate musical numbers in which the characters lip-synch to popular songs of the day, which at once lift their hopes and reflect their fears. Arthur's buoyant tap number to "My Baby Said Yes" and Eileen's saucy rendition of "Love is Good for Anything That Ails You" are reflections of their needs for money and love, and their pas de deux on "Let's Face the Music and Dance" is at once an escape and an acknowledgement of their hopelessness. ~ Mark Deming, Rovi