Maurice Sneed Movies

Based on Richard Price's grim best-seller, and directed by Spike Lee from a screenplay co-written with Price, Clockers takes the structure of a police procedural to build a chilling portrait of despair, hope, and the unanswered problem of black-on-black crime in an urban housing project. The film's haunting themes are vividly visualized during the opening credits, which run over police photos of dead young black men, shot and sprawled on sidewalks, in streets, and hanging over fences. Strike (Mekhi Phifer) is a 19-year-old African-American "clocker" -- the lowest link on the drug dealing chain -- who hangs around park benches and street corners selling small amounts of druges at all hours of the day. Strike drinks chocolate milk to soothe an ulcer and plays with model trains in his apartment, dreaming of a way out of his dead-end life. Drug kingpin Rodney (Delroy Lindo) asks Strike to kill another clocker, Darryl, for skimming money, saying that this will be Strike's ticket to a higher post in Rodney's organization. Darryl is indeed shot, and suspicion immediately falls on Strike, but a weary cop named Rocco Klein (Harvey Keitel) thinks there's more to the case. ~ Don Kaye, Rovi

Roberts Blossom of Home Alone fame guest stars as Lawrence Everett, a 90-year-old man suffering from a variety of illnesses. Everett has arranged to be murdered--and he hires David (Bruce Willis) and Maddie (Cybill Shepherd) to witness the crime! Before long, David has been led to believe that he himself is Mr. Everett's killer. Not only is this the episode in which David and Maddie finally share their first real kiss, but it is also the one featuring David's amazing "disappearing" shaving cream. ~ Hal Erickson, Rovi

The Atlanta Child Murders is a five-hour, two-part dramatization of one of the most tragic and controversial homicide cases of the past twenty years. From 1979 through 1982, some 28 African-American children and young adults disappeared from Atlanta--some without a trace, but others to later turn up as murder victims. Part One (which debuted February 10, 1985) details the beginning of the manhunt conducted by the Atlanta Chief of Police (James Earl Jones). Screenwriter Abby Mann uses the actual events as a springboard for his thesis that the case and its outcome revealed many uncomfortable truths about the still-fragile state of race relations in the New South. Both parts of The Atlanta Child Murders were later combined into one 245-minute "feature film."

The second part of the five-hour TV docudrama The Atlanta Child Murders originally aired February 12, 1985. After 28 African-American children and young adults have either disappeared or been murdered, the Atlanta police finally have a suspect in custody: Small-time show business entrepreneur Wayne Williams (Calvin Levels). Scriptwriter Abby Mann utilizes actual court transcripts of Williams' trial, which results in a conviction on one count of murder. This decision in essence leaves the cases of the other 27 victims unresolved--and in so doing, Mann opens the door to speculations that Williams, a black man, was a "convenient" suspect, who might possibly have been railroaded in the authorities' haste to find a solution to the sordid case. Whatever Mr. Mann may have felt concerning Williams' guilt or innocence, the fact remains that the murders and disappearances stopped cold once Williams was in custody (as of this writing, Williams persists in his efforts to reopen the case, claiming that he was framed by the white power structure). Morgan Freeman served as narrator for both installments of The Atlanta Child Murders. ~ Hal Erickson, Rovi

Jack Butler (Michael Keaton) is a Detroit automobile engineer unjustly fired by his boss. Jack's wife Caroline (Teri Garr) is compelled to get a job to make ends meet, and is soon hired on as an advertising executive in a firm run by the shifty Ron Richardson (Martin Mull). This leaves Jack at home doing the housework and taking care of the kids, which he discovers is a lot more complicated than he ever imagined. Moving from breadwinner to househusband doesn't do much for his self-esteem, and he bides his time playing poker for coupons with a gaggle of neighborhood housewifes and pondering infidelity with dedicated homewrecker Joan (Ann Jillian). Among Keaton's fish-out-of-water bits: trying to maneuver a shopping cart with the inevitable wobbly wheels; and imagining a soap opera/film-noir episode in which he gives in to Joan's advances, only to be found out by Caroline. ~ Hal Erickson, Rovi

Dentist Sheldon Kornpett (Alan Arkin) is a respectable man. He has a daughter who is about to marry the son of a very suspicious character, Vince Ricardo (Peter Falk). They are practically relatives already, the wedding is so near. Certainly, Sheldon already despises Vince as if he were already a well-known relative. Nontheless, Vince calls on Sheldon and convinces him to go with him on a series of wild and hilarious adventures, claiming all the while that he is a CIA agent, and that what he is doing is in the national interest. Sheldon follows Vince to a South American country ruled by a very odd man, General Garcia (Richard Libertini), who talks to his hand (which talks back). It seems that the dictator is involved in a scheme to counterfeit and undermine U.S. currency. ~ Clarke Fountain, Rovi

In this realistic urban drama, a recently returned Vietnam vet moves back to his home in Watts to resume his life as a gang member. He spends much of his time training a younger man to be a gang member. The trouble really begins when one of the gang fatally overdoses on drugs. The gang vows to get revenge upon the local pushers. The film was shot on location in LA. ~ Sandra Brennan, Rovi

No relation to the later Ralph Bakshi semi-animated feature of the same name, Cool World is set in the meanest sections of Harlem. Hampton Clayton plays Duke, a powerful street gang member who claims that he is motivated by the Black Muslim movement. His subsequent criminal activities are thus not merely for gain, but as a means to declare black supremacy over the white establishment. One of director Shirley Clarke's few mainstream projects, Cool World was the first commercial film venture to be shot on location in Harlem. The largely unknown cast features future luminaries (and husband and wife) Clarence Williams III and Gloria Foster. ~ Hal Erickson, Rovi