Obba Babatunde Movies

Set in contemporary Los Angeles as well as the Los Angeles of the 1940s, Dead Again explores a romance between two star-crossed lovers -- and the doomed passion they shared in their last lifetime. Los Angeles detective Mike Church (Kenneth Branagh) comes to the aid of mute, amnesia-victim Grace (Emma Thompson) and falls in love with her. He sets out to discover her true identity and the source of her terrible nightmares. Mike is aided in his investigation by hypnotist/furniture dealer Franklyn Madison (Derek Jacobi) who discovers that in a past life Grace was Margaret Strauss (also played by Thompson), who may have been mudered by her husband Roman (Branagh). ~ Linda Rasmussen, Rovi

Michelle Pfeiffer is Married to the Mob in this comedy. The wife of Mafia hitman Alec Baldwin, Pfeiffer regularly chastizes her husband for his underhanded line of work. Baldwin refuses to entertain any thoughts of quitting the mob-and besides, he's got a good thing going with Nancy Travis, the promiscuous girl friend of gang boss Dean Stockwell. When Stockwell catches on to Travis' peccadilloes, he murders both his mistress and the unlucky Baldwin. At Baldwin's funeral, Stockwell is overwhelmed by Pfeiffer's beauty, and immediately begins plying her with expensive gifts. But Pfeiffer is through with this sort of thing, and with her young son in tow, she leaves town, hoping to start life anew. Upon making the acquaintance of bumbling, seemingly sincere Matthew Modine, Pfeiffer is convinced that Modine is just another mob flunkey. But it's even worse: Modine is an FBI agent, ordered to get to Stockwell by using Pfeiffer as bait. Reluctantly (he's grown quite fond of her himself), Modine blackmails Pfeiffer into setting up a rendezvous with Stockwell. ~ Hal Erickson, Rovi

Directed by Nick Cassavetes, this adaptation of author Nicholas Sparks's bestselling novel revolves around Noah Calhoun's (James Garner) regular visits to a female patron (Gena Rowlands) of an area nursing home. Rather than bore her with the inanities of everyday life, Calhoun reads from an old, faded notebook containing the sweeping account of a young couple (Ryan Gosling and Rachel McAdams) whose love affair was tragically put to a halt after their separation in the midst of World War II. Seven years later, the couple was reunited, and, despite having taken radically different paths, they found themselves unable to resist the call of a second chance. The Notebook also features Joan Allen, Sam Shepard, and Kevin Connolly. ~ Tracie Cooper, Rovi

A national health care crisis in the United States yields this tense drama from screenwriter James Kearns and director Nick Cassavetes, who experienced a real-life dilemma with his daughter's congenital heart disease that mirrors the one in this film. Denzel Washington stars as John Q. Archibald, a factory worker facing financial hardship as a result of reduced hours in his workplace. When his young son, Michael (Daniel E. Smith), is stricken during a baseball game, John and his wife, Denise (Kimberly Elise), discover that their child is in need of an emergency heart transplant. Although the Archibalds have health insurance, they are informed by hospital administrator Rebecca Payne (Anne Heche) that their policy doesn't cover such an expensive procedure. Unable to raise the money himself, John persuades the hospital's compassionate cardiac surgeon, Dr. Raymond Turner (James Woods), to waive his lofty fee, but is still left with too much of a financial burden to bear. With no recourse but to take his son home to die, John snaps and holds the staff and patients of the hospital's emergency room hostage at gunpoint. John is soon a media hero, the focus of intense news coverage, even as police chief Gus Monroe (Ray Liotta) and hostage negotiator Frank Grimes (Robert Duvall) try to resolve the situation before it leads to bloodshed. ~ Karl Williams, Rovi

This original HBO production documents, in dramatic form, the rivalry between Jackie Robinson, Satchel Paige and Josh Gibson to see who would be the first African-American to play Major League Baseball. Paige (played by Delroy Lindo) and Gibson (Mykelti Williamson) are more aggressive about seizing the opportunity that arose in the mid-'40s with the death of baseball commissioner Kenesaw Mountain Landis, who had publicly avowed that the color line in baseball would never be broken. Branch Rickey (Edward Herrmann), the owner of the Brooklyn Dodgers, is the first to seize that opportunity, sending his scouts to check out all the stars of the Negro Leagues. He narrows his choice down to Robinson, in part because of Paige's age (he was around 40) and Gibson's health (he behaved erratically in public, though it rarely affected his game). Rickey was looking for a player with the talent to compete in the big leagues and the character not to allow the inevitable harassment that would come his way to get to him. Robinson was signed in October 1945 and made his big-league debut in April 1947. Paige made it to the big leagues in 1948; Gibson died at the age of 36 in 1947 of a brain tumor. ~ Tom Wiener, Rovi

Nick and Nora Charles are updated to a touchy-feely couple of the 1990s who take a break from the action to raise their eleven-month-old child. Kathleen Turner and Dennis Quaid star as Jane and Jeff Blue, two CIA super-agents who have abandoned the daily grind to devote quality time to their baby but find trouble on vacation in New Orleans. First a group of muggers try to take advantage of Jeff as he walks down the street with his baby in tow. Jeff teaches the boys a humiliating lesson, but one of the creepy bad guys, Muerte (Stanley Tucci), vows revenge, and he spends the rest of the movie dogging Jeff and Jane and getting kicked in the teeth in the process. But Muerte is small potatoes compared to Novacek (Fiona Shaw), a former Czech agent. Convinced to return to work by their superiors, Jeff and Jane have to catch Novacek red-handed buying illegal explosives from a New Orleans traitor so that the government can send her back to the Czech republic. ~ Paul Brenner, Rovi

The prophecy of a worldwide spiritual awakening gradually begins to come into focus in director Armand Mastroianni and screenwriters James Redfield, Barnet Bain, and Dan Gordon's sweeping adaptation of James Redfield's best-selling novel. John Woodson (Matthew Settle) was a high-school history teacher before the loss of his job left him disillusioned and facing an uncertain future. When John is contacted by ex-girlfriend and journalist Charlene (Robyn Cohen), who is currently in town on a brief layover after covering a story in Peru, the pair arrange to meet for dinner and Charlene explains that she has just returned from a remote Eden known as Viciente, where scholars are currently studying a mysterious set of eight ancient scrolls. It was there, continues Charlene, that she came into contact with a priest named Father Jose, who explained to her that the scrolls contain a prophesy written before the birth of Christ and foretell a coming time of enlightenment that will redefine life in the 21st century. Though at first skeptical, John is compelled to book a flight to Peru when Charlene states that she appears to have been drawn to him by a higher power, and a travel brochure on Peru appears in his mailbox the following day. A subsequent encounter with a professor who is also on John's flight and has been studying the scrolls reveals that the scrolls were written in 5 or 6 B.C. and buried in a wooden box that was assembled in the 1600s. Though there was, according to legend, a ninth scroll, it has yet to be recovered. A late-night stroll on the streets of Lima soon leads John into the company of Father Jose, who later disappears after a frightening encounter in which a high-ranking operative holds the priest at gunpoint while insisting that he reveal the location of the lost scroll. Later led to Viciente by the guide who was with Father Jose when the cleric discovered the scrolls, John is haunted by dreams of a remote paradise and a young child, setting into motion a spectacular series of events that will ultimately culminate in a transformation of light that promises to reveal the future of humanity. ~ Jason Buchanan, Rovi

Tom Hanks made his directorial debut in this bright comedy set in the mid-1960's about a rock group and their brief fling with fame. Guy Patterson (Tom Everett Scott) works as a salesman at his father's appliance store and plays the drums in his spare time, fancying himself a jazz musician. One day, a buddy of Guy's tells him a local rock band, The One-Ders (it's pronounced "wonders"), are in need of a drummer -- they have Battle of the Bands coming up and their usual timekeeper has broken his arm. Guy agrees to sit in, but when it's time to play their best original, a love ballad called "That Thing You Do," Guy lays in a sharp, driving beat that turns the tune into an uptempo pop-rocker. Lead singer Jimmy (Johnathon Schaech) isn't happy at first, but guitarist Lenny (Steve Zahn) and the nameless Bass Player (Ethan Embry) think the song sounds better that way -- and they notice the girls like it just fine. Soon people are actually requesting the song at their shows, and the One-Ders scrape together some money to press a single of "That Thing You Do" to sell between sets. A DJ puts the song on the radio, and opportunity knocks in the form of Mr. White (Tom Hanks), who works for the very major Play-Tone Records label. Play-Tone buys the rights to "That Thing You Do" and puts the band on the road as their song makes it way to the top of the national charts. But what can The Wonders (as Play-Tone have re-named them) do for an encore? And what should Guy do about his infatuation with Jimmy's girlfriend, Faye (Liv Tyler)? Real-life 60's obsessed rocker Chris Isaak has a small part as a recording engineer, and fans of real 60's garage bands will appreciate the wealth of small, accurately observed details (for example, halfway through the film, when a few "That Thing You Do" royalty checks have presumably kicked in, the band's inexpensive Danelectro guitars disappear and the Wonders are suddenly playing on brand new Fender gear -- the height of rock style in 1965). ~ Mark Deming, Rovi