Glenn Plummer Movies

In this provocative made-for-television drama, an African American Chicago priest takes on the Catholic church during his fight to adopt a troubled teen and save him from life on the streets. ~ Sandra Brennan, Rovi

Colors stars Robert Duvall and Sean Penn as partners on the LAPD's gang crime division. Duvall had hoped to spend more time with his family, but he's pulled back into active service because of a step-up in gang activity. He makes no secret of his contempt for his novice partner Penn, but eventually comes to rely on the younger man as a valuable street contact. The central crisis is the battle for supremacy between the "Crips" and the "Bloods", with every effort to call a truce stymied by the gang members themselves and by undue police intervention. ~ Hal Erickson, Rovi

Based on the novel by Gloria Naylor, The Women of Brewster Place was produced by and stars Oprah Winfrey. The film concerns a variety of women who live in the housing project located on Brewster Place, and tells about their lives as they struggle in the face of racism, poverty, and troublesome men. Winfrey portrays Mattie Michael who was kicked out of her parent's (Paul Winfield and Mary Alice) house after refusing to reveal the name of her soon-to-be-born child's father. She eventually inherits a house, but loses it after her son skips bail. Robin Givens plays Kiswana, a focused woman who does her best to improve the situations of those around her. During a conversation with her mother (Cicely Tyson), Kiswana learns how her decision to change her name from Melanie is a betrayal of her family history. Cora Lee (Phyllis Stickney) craves being needed by babies and continues to have children, although she becomes neglectful as her children age. Miss Sophie (Olivia Cole) traffics in neighborhood gossip. Theresa and Lorraine (Paula Kelly and Lonette McKee) are a lesbian couple who live on Brewster Place because they believe the people in the neighborhood might let them live in peace. The Women of Brewster Place aired March 18-19, 1989, on the ABC television network. ~ Perry Seibert, Rovi

Set during the Watts riots of the mid-'60s, the made-for-cable Heat Wave follows the story of Los Angeles Times reporter Robert Richardson (Blair Underwood), who was the only journalist on staff able to cover the story, since White reporters were unable to gain access to the area and the rioters. ~ Stephen Thomas Erlewine, Rovi

In this futuristic action drama directed by Lewis Teague, Frank Warren (Rutger Hauer) is a man accused of stealing millions of dollars worth of gems. In prison, all the inmates wear collars which are electronically joined to those of an unknown partner. The collars will explode if either partner gets more than 300 feet away from the other. Warren is determined to escape, however, and finds that his partner is Tracy Riggs (Mimi Rogers). They plan and execute an elaborate escape and head off to search for the stolen diamonds. But members of Warren's former gang pursue them. ~ Michael Betzold, Rovi

Terrence McNally's stage play Frankie and Johnny in the Clair de Lune was a two-character piece, which starred Kathy Bates and F. Murray Abraham on Broadway. Garry Marshall's film version of the McNally play streamlines the title to Frankie and Johnny, expands the dramatis personae to include at least a dozen fascinating characters, and "glamorizes" the decidedly unglamorous Frankie and Johnny in the forms of Michelle Pfeiffer and Al Pacino (their first co-starring stint since Scarface). Purists carped at the changes, but overall the film is likeable enough to transcend these carps. While serving an 18-month sentence on a forgery charge, Johnny (Al Pacino) discovers the joys of cooking and classical literature. Upon his release, he is hired by gruff but good-hearted New York diner owner Nick (played by Garry Marshall "regular" Hector Elizondo). Also working for Nick is a waitress named Frankie (Michelle Pfeiffer). When Johnny expresses interest in Frankie, she keeps him at arm's length, her mistrust of men stemming from an unmentioned but obviously traumatic experience in her past. Eventually, however, Frankie and Johnny do get together, their curious relationship setting the stage for a dramatic denouement wherein both lovers bare their souls. The bulk of the original McNally play is concentrated in the film's final 20 minutes; the rest of the picture is a kaleidoscope of comic and poignant vignettes and quick-sketch character studies. Of the newly minted characters, the standout is Nathan Lane in the traditional "gay best friend/severest critic" role: he plays the character so effectively that one forgets he's essentially a cliché. As for the stars, Al Pacino is ideally cast as Johnny, but Michelle Pfeiffer, superb though she is, seems a bit ill at ease as the emotionally tattered Frankie; she totally wins the audience's hearts, however, in the film's memorable bowling-alley sequence. Smoothing over the rough spots in Frankie and Johnny is the evocative musical score by Marvin Hamlisch. ~ Hal Erickson, Rovi

Glenn Plummer delivers a powerful performance in this angry film based on Crips, a novel written by South Central Los Angeles high school teacher Donald Baker, and directed by Steve Anderson, who served time in prison. Plummer plays Bobby, a young black man trapped in a self-perpetuating cycle of hatred, incarceration, and bloodshed. On his first day out of prison, he comes back to the streets of South Central LA and the only family he knows --the gang. He finds that his best friend Ray-Ray (Byron Keith Minns) is now the leader of the Deuces. Ray-Ray, with plenty of sweet talk, easily talks Bobby into committing a murder, killing a rival gang leader. But before the killing Bobby finds that his girlfriend Carole (LaRita Shelby) has given birth to his son. He also sees that she is becoming too dependent on her drug supply. After the killing, Bobby is hauled back into jail for a ten-year stretch. In jail, Bobby undergoes a transformation. Introduced to the Muslim community and mentored by an older convict named Ali (Carl Lumbly), Bobby begins to read W.E.B. Du Bois and Martin Luther King. He learns about self-respect and how gangs use people like him. When he is once again released from prison, Bobby is a new man. But South Central has gone from bad to worse. Carole, now completely addicted to cocaine, works as a hooker to support her habit. He also discovers that Ray-Ray has recruited his 10-year-old son Jimmie (Christian Coleman) as a junior gang member, stealing car stereos. Jimmie looks upon Ray-Ray as a role model and Bobbie must find a way to save his child from the violent and doomed future of a gang member. ~ Paul Brenner, Rovi

Celebrated indie filmmaker Eddie Israel (Harvey Keitel) heads to California to shoot his latest movie, Mother of Mirrors, an examination of a marriage in which the wife pressures her husband to abandon their formerly mutual sex-and-drugs lifestyle and seek the same kind of religious conversion she has experienced. Leaving behind his own wife Madlyn (Nancy Ferrara) and his young son, Eddie explains the impetus of his latest project in a series of behind-the-scenes interviews. Meanwhile, Sarah Jennings (Madonna), a TV actress, has taken the wife role in Eddie's film, and her first item of business on the set is to sleep with Francis Burns (James Russo), who is set to play her husband. Things go sour between the two players and their conflicts spill onto the set, adding even more tension to a shoot in which Eddie alternately bullies and cajoles his actors to elicit more authentic performances. Perhaps Eddie manipulates Sarah onscreen because he's ashamed of having bedded his "very L.A." star just minutes before his wife and son arrived early for a weekend visit. Eddie soon finds the existential dilemmas of his film seeping into his own life, forcing him to question the compulsive adultery he practices. One of the first movies overseen by the film arm of Maverick, the record label and media company Madonna founded in the early '90s, Dangerous Game was produced by the singer's longtime manager, Freddy de Mann, alongside Mary E. Kane, who produced several earlier Ferrara efforts. ~ Brian J. Dillard, Rovi

Eight weeks after attempting suicide, head nurse Carol (Julianna Margulies) returns to work at the ER. Meanwhile, Greene (Anthony Edwards) forces a family to come to grips with a domestic abuser in their midst. And Carter (Noah Wyle) learns a lesson in compassion from a mysterious female patient (played by Rosemary Clooney, the aunt of series regular George Clooney), who bursts into song at the slightest provocation. ~ Hal Erickson, Rovi

Originally telecast as a two-hour special, the first episode of ER has since been divided into a two-parter for syndication. In part one, young and inexperienced third-year med student John Carter (Noah Wyle) reports for work at the emergency room of Chicago's County General Hospital. During a hectic 24-hour shift, Carter is brusquely introduced to his future co-workers: his arrogant trainer, Dr. Peter Benton (Eriq La Salle); workaholic chief resident Dr. Mark Greene (Anthony Edwards); the equally hardworking Dr. Susan Lewis (Sherry Stringfield); the womanizing Dr. Douglas Ross (George Clooney); and troubled head nurse Carol Hathaway (Julianna Margulies). All in all, it is a typical shift at the ER, with cases ranging from gunshot wounds, ruptured aneurysms, burns, and even hangnails -- but a few surprises are in store for both the staff and the viewers at home. In part two, inexperienced three-year med student John Carter continues to cope as best he can with his hectic first day in the emergency room of Chicago's County General Hospital. Meanwhile, chief resident Greene weighs the possibility of entering private practice; Carter's supervisor, Benton, oversteps his authority by operating on a patient with an aortic aneurysm; and troubled head nurse, Carol Hathaway, becomes a patient herself after attempting suicide (originally intended as a one-shot character, Hathaway proved so popular with the viewers that she was immediately pencilled in as a regular). ~ Hal Erickson, Rovi

Rule-bound Dr. Kayson (Sam Anderson) again incurs the wrath of Lewis (Sherry Stringfield) when he orders the early release of a heart patient named Vennerback (Michael Monks). But when Vennerback is brought back to the ER in critical condition, it is Lewis who is held responsible for the tragedy that follows. Elsewhere, Benton (Eriq La Salle) adopts a somewhat nasty method to stem the constant complaints of his student, Carter (Noah Wyle); and Lewis' pregnant sister, Chloe (Kathleen Wilhoite), announces her intention to move to Texas. ~ Hal Erickson, Rovi

"I'm gonna dance," Nomi Malone (Elizabeth Berkley) insists in the opening scene of Showgirls, and dance she does. In this quasi-update of All About Eve, Nomi is a drifter whose sole ambition is to headline the "Goddess" topless dance show at the Stardust in Las Vegas. Of course, even Nomi must pay her dues, and she does so at the Cheetah, grinding poles and lap dancing her way to a future. Fortunately, her roommate, Molly, works at the Stardust and invites Nomi to see the show, where she meets Crystal Conners (Gina Gershon, in the Bette Davis role), with whom she immediately forms a love/hate relationship. Nomi soon learns what she must do to get ahead, and the rest of the film documents her cat-like crawl up the showgirl ladder of success. Directed by Paul Verhoeven, (Robocop, Basic Instinct, The Fourth Man), Showgirls was conceived as the first big-budget "adult" film since 1977's Caligula, and the first such production to wear the NC-17 rating; its failure at the box-office discouraged further attempts at large-scale adult productions. ~ Dylan Wilcox, Rovi