Billy Mitchell Movies

Writer-director Spike Lee's epic portrayal of the life and times of the slain civil rights leader Malcolm X begins with the cross-cut imagery of the police beating of black motorist Rodney King juxtaposed with an American flag burning into the shape of the letter X. When the film's narrative begins moments later, it jumps back to World War II-era Boston, where Malcolm Little (Denzel Washington) is making his living as a hustler. The son of a Baptist preacher who was murdered by the Ku Klux Klan, Little was raised by foster parents after his mother was deemed clinically insane; as an adult, he turned to a life of crime, which leads to his imprisonment on burglary charges. In jail, Little receives epiphany in the form of an introduction to Islam; he is especially taken with the lessons of Elijah Mohammed, who comes to him in a vision. Adopting the name 'Malcolm X' as a rejection of the 'Little' surname (given his family by white slave owners), he meets the real Elijah Mohammed (Al Freeman, Jr.) upon exiting prison, and begins work as a spokesman for the Nation of Islam. Marriage to a Muslim nurse named Betty Shabazz (Angela Bassett) follows, after which X spearheads a well-attended march on a Harlem hospital housing a Muslim recovering from an episode of police brutality. The march's success helps elevate X to the position of Islam's national spokesperson. There is dissension in the ranks, however, and soon X is targeted for assassination by other Nation leaders; even Elijah Mohammed fears Malcolm's growing influence. After getting wind of the murder plot, X leaves the Nation of Islam, embarking on a pilgrimage to Mecca that proves revelatory; renouncing his separatist beliefs, his oratories begin embracing all races and cultures. During a 1965 speech, Malcolm X is shot and killed, reportedly by Nation of Islam members. ~ Jason Ankeny, Rovi

The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, Rovi

In Robert Zemeckis's trailblazing combination of animation and live-action, Hollywood's 1940s cartoon stars are a subjugated minority, living in the ghettolike "Toontown" where their movements are sharply monitored by the human power establishment. The Toons are permitted to perform in a Cotton Club-style nightspot but are forbidden to patronize the joint. One of Toontown's leading citizens, whacked-out Roger Rabbit, is framed for the murder of human nightclub owner Marvin Acme (Stubby Kaye). Private detective Eddie Valiant (Bob Hoskins), whose prejudice against Toons stems from the time that his brother was killed by a falling cartoon piano, reluctantly agrees to clear Roger of the accusation. Most of the sociopolitical undertones of the original novel were weeded out out of the 1988 film version, with emphasis shifted to its basic "evil land developer" plotline --and, more enjoyably, to a stream of eye-popping special effects. With the combined facilities of animator Richard Williams, Disney, Warner Bros., Steven Spielberg's Amblin Entertainment, and George Lucas's Industrial Light and Magic, the film allows us to believe (at least for 90 minutes) that "toons" exist, and that they are capable of interacting with 3-dimensional human beings. Virtually every major cartoon character of the late 1940s shows up, with the exceptions of Felix the Cat and Popeye the Sailor, whose licensees couldn't come to terms with the producers. Of the film's newly minted Toons, the most memorable is Roger Rabbit's curvaceous bride Jessica (voiced, uncredited, by Kathleen Turner). The human element is well-represented by Hoskins, Christopher Lloyd, and Joanna Cassidy; also watch for action-film producer Joel Silver as Roger Rabbit's Tex Avery-style director. ~ Hal Erickson, Rovi

Michael Winner ups the ante once again in Death Wish 3. Any pretense of Paul Kersey (Charles Bronson) having a career in architecture is completely gone. Kersey's new career appears to be as a professional vigilante, blowing away muggers, rapists and thieves off the mean streets -- or as he terms it "thinning the herd." Back in New York City, Kersey, with his usual luck, arrives just in time to find an old friend dying after a vicious beating by a multi-cultural gang of thugs. The cops arrest Kersey, but it just so happens that police chief Richard S. Shriker (Ed Lauter) is like Kersey with a badge: "I'm the law, and that means I get to violate your civil rights." He makes a deal with Kersey: he can go free as long as he keeps the cops informed of his death counts. Kersey grunts in agreement and proceeds to move into a decaying tenement building in the middle of a bombed out gang war zone. The building is populated by a group of elderly tenants who are terrified by the neighborhood gang warfare. Kersey declares his own personal war on the neighborhood gang, led by a frenzied leader named Fraker (Gavan O'Herilhy), who wears a reverse Mohawk hair-style. As Kersey devises booby traps and trip-wire bombs to confound the gang, the senior citizens gleefully take pot shots at the wounded gang members from their windows. ~ Paul Brenner, Rovi

In this partially successful Brit sci-fi comedy, four invading aliens cannot really think their way out of a paper bag, much less conquer Earth with their superior knowledge (apparently also non-existent). Of the aliens, Desmond (Jimmy Nail) is particularly thick-headed and leaves Bernard (Mel Smith) dangling out in space, Sandra (Joanne Pearce) attracts the romantic interest of British Commander Matteson (Dinsdale Landen), and Julian (Paul Brown) is along for the ride. After this trio causes a traffic snarl when they land on a British expressway, they are first interrogated and then given jobs in showbiz so they can support themselves. This leads to a great rock singing career, which in turn, leads to a U.S. tour -- though this does not equate rock singers and aliens. Meanwhile, Bernard has been saved from his abandonment in space by an unlikely space-wanderer who drops him off in the U.S., where he is put in an insane asylum. Sure enough, when his three companions start their U.S. tour, Bernard escapes and tries to rejoin them. The saga continues on until some sort of very unlikely rescue seems in store. ~ Eleanor Mannikka, Rovi

This undistinguished drama goes no further than clichéd views about women who gain success by bedding down those who have it. Pia Zadora stars as Jerilee, just out of high school and married to a prominent Hollywood screenwriter, with her own heart-felt aspirations to get her screenplays noticed by the right producers. Her marriage fails for many reasons and once on her own, she comes to the difficult decision that she really will go nowhere fast unless she uses her sexual charms to pave the way to recognition -- and so she does, with a bit of revenge thrown in at the end for good measure. ~ Eleanor Mannikka, Rovi

Milos Foreman's cinematic adaptation of E.L. Doctrow's sprawling pop-culture epic Ragtime follows a variety of characters whose lives intertwine during the earliest years of the 20th century. Brad Dourif plays the meek young brother in a wealthy family who ends up helping Coalhouse Walker Jr. (Howard E. Rollins) when the proud black man stands up to the racism that surrounds him with a criminal act that leads to a standoff with a police commissioner (James Cagney - making his return to the big screen after fifteen years away). Secondary characters include a street artist (Mandy Patinkin) who gets his foot in the door of the nascent film business, and a flighty young woman (Elizabeth McGovern) who inspires men who desire her to violence. Randy Newman composed the score, which included a song that earned him his first Oscar nomination. ~ Perry Seibert, Rovi

The long-running series of British "Carry On" comedies was nearing the end of the line when this 28th film in the cycle was released in 1976. Set in World War II, Carry On England explores what happens when the British military decides to set up an experimental mixed-gender anti-aircraft battery. While commanding officer Captain Melly (Kenneth Connor) is a stickler for military discipline, it soon becomes obvious that the interaction of male and female soldiers doesn't lend itself to a crack fighting unit, though it makes for plenty of broad physical comedy, especially with Major Bloomer (Windsor Davies), Melly's second-in-command, on deck. Judy Geeson, Patrick Mower, Jack Douglas, and Joan Sims lead the supporting cast. This feature was followed by That's Carry On (1977), a "greatest hits" collection of highlights from the series, and Carry On Emmanuelle (1978), which marked the end of the series until 1992's Carry On Columbus. ~ Sandra Brennan, Rovi