Gloria Foster Movies

What if virtual reality wasn't just for fun, but was being used to imprison you? That's the dilemma that faces mild-mannered computer jockey Thomas Anderson (Keanu Reeves) in The Matrix. It's the year 1999, and Anderson (hacker alias: Neo) works in a cubicle, manning a computer and doing a little hacking on the side. It's through this latter activity that Thomas makes the acquaintance of Morpheus (Laurence Fishburne), who has some interesting news for Mr. Anderson -- none of what's going on around him is real. The year is actually closer to 2199, and it seems Thomas, like most people, is a victim of The Matrix, a massive artificial intelligence system that has tapped into people's minds and created the illusion of a real world, while using their brains and bodies for energy, tossing them away like spent batteries when they're through. Morpheus, however, is convinced Neo is "The One" who can crack open The Matrix and bring his people to both physical and psychological freedom. The Matrix is the second feature film from the sibling writer/director team of Andy Wachowski and Larry Wachowski, who made an impressive debut with the stylish erotic crime thriller Bound. ~ Mark Deming, Rovi

An ex-championship boxer (James Earl Jones) sees a chance at recapturing a taste of his former glory after discovering that Thunder (Courtney B. Vance), one of the amateurs he trains, has real potential. Unfortunately, Thunder has entangled himself with crooked, gang-connected manager Ralph Tate (Billy Dee Williams), and he is not to let the young fighter go without a fight. This drama was made for cable and was aired as part of Steven Spielberg's "Screenworks" project. ~ Sandra Brennan, Rovi

A city pulses with racial problems, political corruption, and small-time crime in this ambitious microcosm of urban life, written and directed by John Sayles. Nick Rinaldi (Vincent Spano), a lost soul usually high on drink and drugs, has spent his life in one New Jersey city, getting free rides from his connected father (Tony LoBianco) and hearing the locals talk of his brother's death in Vietnam. Searching for more control, Nick quits the cushy contractor's job provided by his Dad, feeling that major events are about to happen to him. That feeling proves accurate -- by film's end his life will change, as will the lives of many others. Nick is only the center of the movie's sprawling collection of people and plotlines; Sayles takes full advantage of this expansive landscape, as he often begins shooting one conversation, only to pull back and eavesdrop on another, in one smooth, intriguing shot. By listening in, we slowly learn about the citizens and their dilemmas, as the city's woes bubble to a narrative climax. Many of Sayles' regular players are on-screen (the movie features 52 roles), including Joe Morton as a frustrated councilman and David Strathairn as a disturbed street person. ~ Norm Schrager, Rovi

CIA director Snyderburn (Joe Don Baker) talks former agent Leonard (Bill Cosby) into returning to the job in this failed Bond-style spy comedy. Leonard's mission is to stop the evil Medusa (Gloria Foster) from taking over the planet by controlling the behavior of the world's animals. The highlight of the film is when lobsters, fish, and frogs begin to attack the humans in a reversal of the food chain. Jane Fonda makes a brief appearance as she talks to Leonard while filming one of her exercise videos. ~ Dan Pavlides, Rovi

The Atlanta Child Murders is a five-hour, two-part dramatization of one of the most tragic and controversial homicide cases of the past twenty years. From 1979 through 1982, some 28 African-American children and young adults disappeared from Atlanta--some without a trace, but others to later turn up as murder victims. Part One (which debuted February 10, 1985) details the beginning of the manhunt conducted by the Atlanta Chief of Police (James Earl Jones). Screenwriter Abby Mann uses the actual events as a springboard for his thesis that the case and its outcome revealed many uncomfortable truths about the still-fragile state of race relations in the New South. Both parts of The Atlanta Child Murders were later combined into one 245-minute "feature film."

The second part of the five-hour TV docudrama The Atlanta Child Murders originally aired February 12, 1985. After 28 African-American children and young adults have either disappeared or been murdered, the Atlanta police finally have a suspect in custody: Small-time show business entrepreneur Wayne Williams (Calvin Levels). Scriptwriter Abby Mann utilizes actual court transcripts of Williams' trial, which results in a conviction on one count of murder. This decision in essence leaves the cases of the other 27 victims unresolved--and in so doing, Mann opens the door to speculations that Williams, a black man, was a "convenient" suspect, who might possibly have been railroaded in the authorities' haste to find a solution to the sordid case. Whatever Mr. Mann may have felt concerning Williams' guilt or innocence, the fact remains that the murders and disappearances stopped cold once Williams was in custody (as of this writing, Williams persists in his efforts to reopen the case, claiming that he was framed by the white power structure). Morgan Freeman served as narrator for both installments of The Atlanta Child Murders. ~ Hal Erickson, Rovi

The three-part, 180-minute British miniseries The File on Jill Hatch was based on an all-too-real byproduct of WWII: the plight of young British women who'd been married, then abandoned (often involuntarily), by black American GIs. The ramifications of one such union stretched some 40 years in the course of the story, with heartbreak, ostracization, and occasional triumph along the way. Cassandra Murray and Penny Johnson were seen as both the young and old Jill Hatch, while the supporting cast included such prominent African-American performers as Gloria Foster and Lynne Thigpen. The File on Jill Hatch was shown over the BBC in 1983. ~ Hal Erickson, Rovi

Originally telecast February 25, 1972, To All My Friends on Shore stars Bill Cosby as a middle-aged airport redcap. Frustrated by his job and his ghetto existence, Cosby vows to seek out a better life for himself and his loved ones. But his stubborn efforts to do so succeed only in turning his family against him. Already burdened with enough problems for three men, Cosby must face a new crisis when his son develops sickle-cell anemia. Filmed on location in Connecticut, To All My Friends on Shore not only starred Bill Cosby, but was produced, scored and written by him as well. Allan Sloane was honored with an Emmy for his adaptation of Cosby's original story. ~ Hal Erickson, Rovi

Bernard Malamud seldom saw his works faithfully transferred to the screen (take a look at The Natural sometime), but he issued no complaints over the cinemazation of his Angel Levine. Zero Mostel plays an elderly Jew named Morris Mishkin, whose life experiences have left him an embittered agnostic. Into Mostel's life floats Alexander Levine (Harry Belafonte), who must convince the old man that life has value, else he'll never earn his wings. The Angel Levine was lovingly adapted for the screen by Bill Gunn and Ronald Ribman. ~ Hal Erickson, Rovi

A landmark independent film, Nothing but a Man is the first dramatic story featuring a largely black cast created for an integrated audience (the work of black filmmakers such as Oscar Micheaux was intended for audiences who patronized black-only theaters). White filmmakers Michael Roemer and Robert M. Young traveled through the South in 1962 in search of ideas for a fiction feature set during the growing turbulence of the civil rights era. Their story, based in Alabama but shot in southern New Jersey, is only tangentially related to the movement toward equality. Duff, an itinerant black railroad laborer (Ivan Dixon), romances and marries Josie, a small-town preacher's daughter (Abbey Lincoln). Duff insists on being treated with respect, but his stance is personal rather than political. After he settles down in the town with Josie, he comes up against white bosses who want to make sure he knows his place and black men such as Josie's father who don't want to rock the boat for fear of losing what little advantage they have. Duff's relationship with his own father (Julius Harris), a broken-down drunk living in Birmingham, teaches him valuable lessons about dignity and self-worth. The film was lauded at both the New York and Venice festivals but received limited release in theaters specializing in foreign and independent film. However, word of mouth in the black community (where Nothing but a Man was for years a staple on the 16 mm rental market, in the days before VCRs) and continued attention by film historians have ensured the status of Nothing but a Man as a pioneering and enduring work. ~ Tom Wiener, Rovi