Clifton Gonzalez Gonzalez Movies

Music video and TV commercials director Antoine Fuqua made his feature directorial debut with this action thriller starring Hong Kong superstar Chow Yun-Fat. Chinese immigrant John Lee (Yun-Fat) has a violent past as a professional killer. It brings him only remorse, but it makes him the ideal assassin. In exchange for his family's safety, Lee is forced to take a job with a powerful underworld figure, Asian crime kingpin Terence Wei (Kenneth Tsang), who wants Lee to settle a deadly vendetta against police detective Stan Zedlov (Michael Rooker) by killing Zedlov's seven-year-old son. At the last minute, with the boy in his sights, Lee chooses to face Wei's vengeance rather than go through with the killing. In addition to making Lee a target, the decision also endangers his mother and sister back in Shanghai. Planning a return to China, he visits document forger Meg Coburn (Mira Sorvino) to get a phony passport, but they are interrupted by Wei's army of killers, and a lengthy chase and gun battle is set in motion.

Director Fuqua stressed to his team that the aim was to design a "Taxi Driver for the 1990s," with production beginning February 10, 1997 in downtown Los Angeles, and the first shoot at the historic Mayan Theater, refurbished into the trendy nightclub for the film's stylish opening scene with hundreds of extras carousing while Lee guns down Romero (Carlos Leon) at close range. The eight-story, nearly condemned Giant Penny building in the heart of L.A. served as locations for a police station interior, a hotel room, and Meg Coburn's office, and a chaotic gunfight was filmed amid the spray, brushes, and hoses of Joe's Car Wash in LA. The art department transformed one area into a Chinatown-like streetscape of damp, narrow alleys, and blinking red neon lights, site of a night filming where Yun-Fat shot off 546 rounds with two guns, one in each hand, while the repetitive action left his hands blistered and shaking. More gunplay was at a video arcade replicated at the original Lawry's center just north of downtown L.A., and Lee's tranquil Buddhist temple was fashioned under this same roof. In addition to physical training, Mira Sorvino, who had never handled a gun prior to this film, took weapons training to prepare for her role. Sorvino majored in Asian studies at Harvard, speaks Mandarin, and lived for eight months (1988-89) in Beijing, where she studied Chinese, taught English, and saw Chinese films, including Hong Kong action films. She felt The Replacement Killers brought her a step closer to her goal of making a film in Mandarin and working with a Chinese director. ~ Bhob Stewart, Rovi

The classic 1955-59 sitcom The Phil Silvers Show (also known as "You'll Never Get Rich" in its first few episodes) became this high concept comedy with an all-star cast. Steve Martin stars as U.S. Army Master Sergeant Ernest G. Bilko, a conniving motor pool supervisor who uses his position to finance various get-rich-quick schemes, including illegal gambling, at a Kansas military base. His commanding officer, Colonel Hall (Dan Aykroyd) is mostly oblivious to Bilko's antics. Trouble arrives when the master sergeant's old rival, Major Thorn (Phil Hartman), appears. It seems that Thorn, the butt of several past Bilko capers, is eager to settle the score by spearheading a review of Bilko's records and stealing away his fiancée Rita (Glenne Headley), who may have been left at the altar one too many times. At the same time, military engineer Major Ebersole (Austin Pendleton) is testing a new high-tech "hover tank" that may not be quite ready for deployment. Directed by light comedy specialist Jonathan Lynn, who brought a similar touch to My Cousin Vinny (1992) and Greedy (1994), the updated Sgt. Bilko costarred Cathy Silvers, daughter of the TV show's late star, as Lieutenant Monday. ~ Karl Williams, Rovi

Though it was also released as Tack's Chicks, The Stoned Age is a more accurate summation of this engagingly sloppy "head" movie. The protagonists are Joe (Michael Kopelow) and Hubbs (Bradford Tatum), who are obsessed with an unending quest for beautiful girls and nonstop sex. In the course of a single night, the boys are introduced to several willing lovelies by a fella named Tack (Clifton Gonzalez-Gonzalez). Making enjoyable-if pointless-guest appearances in Stoned Age are Frankie Avalon, Taylor Negron, and two members of the Blue Oyster Cult. ~ Hal Erickson, Rovi

R&B star Janet Jackson made an impressive film debut in Poetic Justice as Justice, a hairdresser at a small salon in South Central Los Angeles. Justice uses her poetry to deal with her grief after her boyfriend is killed in a shooting incident at a drive-in. Hired to work at a hair stylists' event in Oakland, Justice is stranded when her car breaks down, until she remembers that her friend Ieasha (Regina King) was going to hop a ride down to Oakland with her boyfriend Chicago (Joe Torry), a postal worker who is heading there with a truck full of mail. Justice tags along to discover that Chicago's driving partner is Lucky (Tupac Shakur), the postman who delivers mail to her shop and keeps asking her out. Ieasha and Chicago have to deal with their own rocky relationship while Justice has to decide if she's ready for a new love -- and if Lucky is the man she's waiting for. Along with strong work from Jackson, Poetic Justice features a surprising turn from Shakur, whose nuanced performance as Lucky is in strong contrast to his "Thug Life" public persona. Justice's poems were written by Maya Angelou, who also appears in a small role. ~ Mark Deming, Rovi

Elements of Orwellian science-fiction and old-fashioned prison dramas are combined in this futuristic action film, as an unjustly imprisoned couple attempts to escape from a high-tech jail known as The Fortress. The Fortress is the tool of a repressive government, an imposing, computerized hell, featuring lasers for cell bars, robot guards, computerized brainwashing, and the like. Still, some things never change, including the presence of an evil warden, who harasses the pretty wife while her husband frantically searches for a way out. The special effects and design work are effective, particularly in comparison to the film's modest budget, but the story will undoubtedly seem disappointingly predictable to many viewers. Nevertheless, the film's blend of competent (if unoriginal) action and technology proved enough of a draw to make the film a financial success internationally, though it received little notice in the United States. ~ Judd Blaise, Rovi