Nicholas J. Giangiulio Movies

An inept cop suddenly gets a new partner in the person of a cabbie with attitude in this high-rolling comedy. Washburn (Jimmy Fallon) is a police officer who becomes the laughingstock of the department after a series of traffic accidents cause him to lose his driver's license. One day, Washburn gets an urgent call to head out to the location of a bank robbery; unable to drive himself there, he hails a cab. As it happens, the taxi is being driven by Belle (Queen Latifah), a single mom who, after making a name for herself as the fastest pizza delivery person in New York, has moved up to driving a hack. What begins as a wild ride to the scene of the crime gets even wilder as Washburn and Belle become unexpected allies while following the trail of a team of beautiful but reckless female bank robbers led by Vanessa (Gisele Bundchen). Adapted from a popular French action comedy with the same name, Taxi was Jimmy Fallon's first big-screen vehicle after leaving the cast of the popular sketch comedy series Saturday Night Live. ~ Mark Deming, Rovi

In this conclusion of a two-part story, the detectives and the lawyers vow to avenge the slaying of a woman whose son witnessed a Russian Mafia hit. Relentlessly digging up every possible lead, the forces of law and order endeavor to expose a widespread money-laundering scheme -- and to prevent any more killing of witnesses or destruction of evidence. As ADAs McCoy (Sam Waterston) and Carmichael (Angie Harmon) risk violating the civil liberties of witnesses by keeping them in protective custody, detective Curtis (Benjamin Bratt) is hit with a tragedy in his own household. Both parts one and two of "Refuge" were broadcast May 25, 1999, as the finale of Law & Order's ninth season -- and, incidentally, as the swan song of series regular Benjamin Bratt. ~ Hal Erickson, Rovi

The detectives discover that a young junkie found dead in the yard of a day-care center was the daughter of a wealthy family. Further investigation reveals that the woman was taken to her final "resting place" as she was dying. The question: Is it possible that someone very close to the victim would have allowed her to perish in so ignominious a fashion? ~ Hal Erickson, Rovi

A 12-year-old Harlem youth is killed in a hit-and-run. The driver, an elderly Jewish man named Joshua Berger (Michael Constantine), is not indicted. This is all it takes for outspoken (and blatantly bigoted) black activist Reverend Ott (Tony Todd) to foment racial tensions that explode in violence. The scenes involving Assistant D.A. Stone (Michael Moriarty) and black defense lawyer Shambala Green (Lorraine Toussaint) are among the most powerful ever seen on Law & Order; small wonder that "Sanctuary" was cited by TV Guide as one of television's best individual series episodes. As a bonus, actor J. K. Simmons, who later became a series semiregular in the role of police psychologist Dr. Emil Skoda, is here seen in an entirely different characterization. ~ Hal Erickson, Rovi

Detectives Logan (Chris Noth) and Cerella (Paul Sorvino) swing into action when a Chinese-American honors student is killed. At first, it seems as though an Asian street gang was responsible for the killing. Then, more evidence comes to surface, leading to an intense scholarship competition and a dangerously ambitious family. ~ Hal Erickson, Rovi

Jessica Lange plays an attorney whose affable Hungarian-immigrant father Armin Mueller-Stahl is arrested. He is threatened with deportation for lying about his activities during World War II; part of the charge is that Mueller-Stahl was a Nazi collaborationist, guilty of wartime atrocities. Absolutely convinced that her father is being railroaded by a revenge-seeking Hungarian communist government, Lange handles Mueller-Stahl's defense, expertly blowing huge holes in prosecuting attorney Frederic Forrest's case. But in doing her own research, Lange discovers that her father has spent a lifetime paying off a blackmailer. Why? In contrast to the fervency of his earlier Z, Costa-Gavras refuses to make things easy by proselytizing in The Music Box (nor does screenwriter Joe Esterhas indulge in his usual right-between-the-eyes fervency). Everything in the film is offered on the same calm, collected level, making the ultimate horror of the story all the more effective. ~ 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