Wynonna Smith Movies

What's Love Got to Do With It? is the filmed biography of R&B/pop singer Tina Turner (Angela Bassett), documenting her efforts to break away from her abusive husband Ike (Laurence Fishburne). After a few scenes detailing Tina's life as a young singer in Nutbush, TN, she's discovered by Ike Turner, an already established songwriter, guitarist, and record producer. Ike takes Tina under his wing and makes her a star, but her fame makes him jealous and abusive, and she has to struggle to break free of his domination. ~ Stephen Thomas Erlewine, Rovi

Bill Duke directs this quirky film adaptation of Chester Himes' crime novel -- a heavily plotted gangster tale with a sweet love story hidden underneath. The film begins in Natchez, Mississippi in 1956. During a police shoot-out with the mob leader Slim's (Badja Djola) gang, Slim's moll Imabelle (Robin Givens) takes off with a cadre of stolen gold. As a result, Imabelle is chased by Slim's mob from Mississippi to New York. By the time she reaches Harlem, she is broke and has to figure out a way to ditch the trunk full of gold. She finds herself at the annual Undertaker's Ball, where she sees the big and dumb Jackson (Forest Whitaker), a bumbling undertaker's assistant. She spots Jackson as a mark that she can use as a cover and latches onto him immediately. She moves in with him to hide out, but Imabelle becomes taken with his innocence. For his part, Jackson falls head over heels in love with her. But the Mississippi mob catches up with her and takes her away. Jackson calls in his street-wise brother Goldy (Gregory Hines) to help him rescue Imabelle. Jackson fears that Imabelle has been kidnapped. But Goldy knows better -- he still agrees to help him but Goldy wants the gold for himself. ~ Paul Brenner, Rovi

Gregory Hines plays the ex-convict son of a famed tap-dancer. Taking over his late father's Harlem dance studio, Hines can't shake memories of his childhood, when he was being touted as a dancing prodigy. Challenged to fulfill his destiny by his dad's old cronies--among them such terpsichorean giants as Sammy Davis Jr., Steve Condos, Jimmy Slyde and Harold Nicholas--Hines does his best to avoid lapsing back into a life of crime. The struggle to save Hines' soul is a titanic one, with Hines' girlfriend Suzzanne Douglas tugging at him from one direction and his old burglary partner Joe Morton yanking from the other. The plotline of Tap is merely an excuse to show off some of the most dazzling footwork ever recorded on film. The director is Nick Castle Jr., who like star Gregory Hines is scion of a legendary dancing family. ~ Hal Erickson, 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