Damien Leake Movies

Drawing inspiration from the true story of a temperamental debate coach who molded the students of a small East Texas college into a formidable team that gave even Harvard's elite squad a run for their money, Denzel Washington's The Great Debaters features the director himself as the ambitious educator, and Forest Whitaker as the resentful father of a student whose loyalties now lie almost exclusively with his coach. Melvin B. Tolson (Washington) is the kind of educator who truly recognizes the remarkable power of knowledge. An outspoken Wiley College professor who boldly challenged the discriminatory Jim Crow laws of the 1930s, Tolson's recognizes that his young debate students possess the spark of a new generation. Convinced that they could invoke great change if given the confidence and tools needed to do so, the tireless educator implores his students to take responsibility for the future while furtively attempting to protect them from his clandestine role as an organizer for the Southern Tenant Farmers Union. Chief among Tolson's promising young students is a 14-year-old prodigy named James Farmer, Jr. (Denzel Whitaker). Farmer's father, James Sr. (Forest Whitaker), is a renowned scholar and an important presence in the emerging student's life. Yet despite his formidable reputation, James Sr. has not yet learned how to truly harness the power of knowledge through action and assertion. James Jr. has seen the raving effects of racism all around him, and longs to live in a future where no one must be in fear simply because of the color of their skin. Other talented debaters on Tolson's team include fiercely independent student Henry Lowe (Nate Parker), and Samantha Brooke (Jurnee Smollett) -- the first ever female ever to join the Wiley College debate team. While most educators may not have recognized the remarkable potential of assembling such a disparate team, Tolson's unique vision truly set him apart from the pack as the team begins to experience a series of consecutive victories on their road to challenging Harvard at the National Championships. ~ Jason Buchanan, Rovi

This independent film is about four homeless people in Brooklyn, and how they manage to get by from day to day. At the beginning, it depicts the lives of Sammy, his heroin-addicted girlfriend and his crack-addict brother. Sammy's brother and girlfriend raise money by selling their bodies for sex. Sammy seems to get by through foraging and fishing. They live together in an unused, semi-abandoned warehouse through an arrangement made with its caretaker/watchman. Their lives gain dramatic poignancy when they are joined by a young runaway boy named Shiner. ~ Clarke Fountain, Rovi

Just after finding out that he has been accepted to grad school, Theo (Malcolm-Jamal Warner) attends a corporate recruting dinner--not really to scope out his future job prospects, but to gorge himself on the free food. Be that as it may, Theo so impresses an attending executive that he is offered a $30,000-per-year job in San Francisco! While Theo's parents are delighted that their son has come so far so quickly (or maybe not so quickly, considering his less than stellar high school record), the prospect of his departure proves distressing to Eugene (Eugene Byrd), one of the kids at the community center. ~ Hal Erickson, Rovi

Real-life sweethearts and film directors Ken Kwapis and Marisa Silver co-directed this throwback to the silver-screen romantic comedies of the 1940s, examining the different ways men and women view reality. Kwapis takes the male character's point of view, recalling a burgeoning relationship. Silver then takes a crack at the same story, recalling the same events from the woman character's point of view. Unfortunately, both perspectives are not that much different. Kevin Bacon and Elizabeth Perkins star as Dan Hanson and Lorie Bryer, two reporters from the Baltimore Sun who are assigned to share space on the editorial page debating opposing viewpoints. Dan is the conservative philanderer. Lorie is the sensitive liberal. The new column becomes a big hit -- a shop owner exclaims, "Hey, it's the people who argue!" Although originally antagonists, Dan and Lorie become lovers. As their relationship grows, so does their popularity, and they end up hosting a popular television program. But Lorie wants commitment, and Dan doesn't. Frustrated, Lorie shies a coffee cup off Dan's noggin live on the air. Their ratings soar. And then the whole routine is played out again. ~ Paul Brenner, Rovi

An arrogant Detroit cop (Jay Leno) must work with his efficient Japanese counterpart (Pat Morita) to corner an evil ganglord. ~ John Bush, Rovi

Sea of Love is a sexy, atmospheric thriller, very much in the style of Alfred Hitchcock, with involving characters, steamy love scenes, and surprising plot twists. Frank Keller (Al Pacino), is a lonely, tired, disillusioned, police detective, who has a problem with alcohol. Frank is investigating a serial killer, whom he believes finds victims by using personal ads in magazines, killing them while playing the old record "Sea of Love." In a scene both amusing and touching, Frank and his partner, Sherman (John Goodman) --aided by Frank's father (William Hickey in a lovely cameo) place a personal ad, hoping to lure the killer. Helen Cruger (Ellen Barkin), a tough, sexy single mother answers the ad and begins an affair with Frank, despite the fact that she is one of the prime suspects in the case. The suspense builds as Frank, though deeply drawn to Helen, becomes more and more suspicious of her. In a splendidly crafted script from Richard Price, the plot is compelling, with plenty of action, terrific authentic dialogue and superb characterization. Ellen Barkin gives a marvelous performance as an independent, sensual and intriguing femme fatale; John Goodman is excellent as Sherman, giving a likable, shrewd, and subtly comic performance; and Pacino, in perhaps his best performance since Dog Day Afternoon, plays Frank as a man on the edge, reckless and self-destructive, lost and alone. Frank falls in love with Helen, in spite of himself, because of his loneliness and need. Pacino's skill in showing the vulnerability and neediness of Frank explains the somewhat implausible actions of his character in continuing their affair despite the mounting evidence against Helen. Harold Becker directs with great flair, bringing the story believability, without lapsing into false sentimentality. ~ Linda Rasmussen, Rovi

With the ultimate throw-down -- "There can be only one" -- Highlander captured the imaginations of fantasy fans seeking a well-executed swordplay epic, becoming a cult classic in the process. Connor MacLeod (Christopher Lambert) is one of a waning few survivors of a clan of immortals. The breed have been dueling each other for centuries in the quest to be the last one remaining, and hence achieve a supreme enlightenment that would be dangerous in the wrong hands. The immortals can only die by decapitation, so they hunt each other over the centuries and across continents to meet for each decisive duel, which will bring one of them a step closer to ultimate power. In present-day America, the troubled hero MacLeod lives a brooding and lonely existence, having lost his true love centuries ago. The evil Kurgan (Clancy Brown), an immortal who plans to use his power toward unspeakable ends, has fought MacLeod before but is still trying to finish him off. After emerging victorious from a parking garage skirmish with the third-to-last immortal, MacLeod knows that only Kurgan is left, and the two are on a collision path toward the inevitable. In the film's numerous flashbacks to the past, Sean Connery plays Ramirez, the immortal who first tutors MacLeod after the hero survives a mortal battle wound, prompting his fearful village to banish him. Roxanne Hart plays MacLeod's modern-day love interest, who tries to help him while struggling to believe his incredible story. The director's cut runs four minutes shorter. ~ Derek Armstrong, 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

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon. ~ Lucia Bozzola, Rovi