Vonte Sweet Movies

Eric Bross directed this drama of romantic roadblocks and racial issues between a group of waitresses and bartenders waiting for their "big breaks." Former alcoholic Chris (Adrien Brody) is a playwright who works as a bartender at the popular Hoboken, New Jersey, restaurant J.T. McClure's, a gathering spot for a variety of creative wannabes. At a local theater, rehearsals are underway for Chris' play, an autobiographical drama echoing his past relationship with Leslie (Lauryn Hill); for the fictional Leslie character, Chris has cast the vulnerable vocalist Jeanine (Elise Neal), and finds himself falling for her. Meanwhile, the actor playing the role of "Chris" has been sleeping with the real-life Leslie, adding to the real-life Chris' confusion. Providing philosophical guidance is the wise-guy best friend Reggae (Michael Stoyanov), a fellow "Newark boy" whose main creative energy goes into scoring drugs. Restaurant was one of the much-discussed stand-outs at the 1998 L.A. Independent Film Festival. ~ Bhob Stewart, All Movie Guide

A collection of losers, misfits, and outcasts find their lives unexpectedly converging at a diner along a desert highway in this violent and offbeat comedy drama. Dwayne (John Savage) is a strait-laced-looking vacuum cleaner salesman with a bad habit of murdering prospective customers, while Patty Mae (Jennifer Tilly) is a sexy mystery woman who has amassed an impressive collection of carpet sweepers. Martin (Eric Roberts) is a down-on-his-luck family man wondering how he'll support his wife and kids now that he has lost his job. Johnny (Luke Perry) is a deeply depressed young man who has arranged for a hired killer (Sam J. Jones) to murder him, not knowing that the killer has no intentions of allowing him to die quickly or easily. And Harv (James Russo) and Gene (Joe Viterelli) are a pair of mobsters from Las Vegas who discuss their various problems with women, not very concerned about the fact there's a man locked in the trunk of their car. American Strays also features Carol Kane, Brion James, and Melora Walters. ~ Mark Deming, All Movie Guide

Using relatively unknown actors, first-time screenwriter-director Preston A. Whitmore II examines the effects of the Vietnam War on four black Marines sent on a doomed prisoner-of-war rescue mission. The four men are what's left of a platoon that's been decimated after landing behind enemy lines. In charge is Sergeant Barkley (Joe Morton), a no-nonsense, Bible-quoting preacher who is leading three privates to find a POW camp in an abandoned temple. Cole Evans (Allen Payne) is an intellectual who is highly political, racially proud, and a devoted family man. Joe Brooks (Vonte Sweet) is a cheerful, naïve, and brave young soldier. Hoover Branche (Eddie Griffin) is a dope-smoking, foul-mouthed rebel who hates the war and fights the sergeant constantly. They eventually are joined by a crazy, bloodthirsty white soldier, Pippins (Roger Floyd). Flashbacks reveal why each character joined the Marines. Pippins entered the recruiting office to escape rival gang members who were trying to kill him. Brooks enlisted to impress his girlfriend. Branche signed up after being fired from a meat-packing plant for stealing a ham that he used as admission to a party where he wanted to woo a girl. Evans enlisted because bigoted real estate agents prevented him from buying a decent home for his family in L.A. -- he intended to become a Marine officer so that he can get free housing. ~ Michael Betzold, All Movie Guide

This debut offering from twin brothers Albert and Allen Hughes was one of the most critically-acclaimed urban crime films to appear in the wake of John Singleton's influential Boyz N the Hood. Set in the Watts neighborhood of Los Angeles, the film is narrated by 18-year-old Caine (Tyrin Turner), a drug dealer and car thief who lives with his religious grandparents. After graduating from high school, Caine shows no ambition beyond hanging out with his friends, so his grandparents kick him out. Among his other troubles are his best friend O-Dog (Larenz Tate), a vicious thug hunted by the police, and the friends and family of the girl Caine got pregnant and then turned his back on. Perhaps the lone positive influence in his sphere is Ronnie (Jada Pinkett), a single parent struggling to raise her young son without the boy falling prey to the 'hood mentality. When their friendship becomes a love affair, Ronnie tries desperately to convince Caine to move with her to Atlanta; soon afterward, he is shot and nearly dies. After recovering, he accepts Ronnie's offer, but tragedy strikes as they pack their van in preparation to leave. ~ Jason Ankeny, All Movie Guide

Gladiator is the kind of boxing movie that goes that extra mile -- a self-loathing boxing saga that relishes in bare-knuckled sucker punches, illegal eye-rubs, and gentlemen boxers who obey the Marquis of Queensbury rules by drop-kicking opponents when the are not only down but unconscious. James Marshall plays Tommy Riley, a Windy City high school student conned into participating in the illegal underground boxing arenas of the South Side of Chicago. In high school, Tommy was a prize boxer, and this skill comes in handy when his Father (John Heard) runs up a large gambling debt. When a sleazy boxing manager (Robert Loggia) spots Tommy defending himself during recess, he offers him quick money to box. Tommy, although he hates the sport, readily agrees, thinking his winnings will help his father pay off his debts. He quickly comes under the thumb of unscrupulous boxing promoter Horn (Brian Dennehy), who is involved in fight-fixing and dirty fighting. Manipulating the odds and exploiting his boxers make Horn rich and more venal. In the rancid environment, Tommy befriends another fighter, Lincoln (Cuba Gooding Jr.), a black fighter who sees fighting as his way out of poverty. Inevitably, Horn arranges for the two friends to duke it out in the ring together. ~ Paul Brenner, All Movie Guide

Director John Singleton's debut chronicles the trials and tribulations of three young African-American males growing up in South Central Los Angeles. When young Tre (Cuba Gooding Jr.), a bright underachiever, begins to show signs of trouble, his struggling professional mother (Angela Basset) sends him to live with his father (Lawrence Fishburne), a hard-nosed, no-nonsense disciplinarian. There he befriends Ricky (Morris Chestnut), a burgeoning football star, and Doughboy (Ice Cube, in a standout performance), a would-be gang banger. Over the years, each chooses his own path: Tre seems bound for college; Ricky is a blue-chip running back with his pick of schools; Doughboy is a dope dealer and bona fide gangster who drifts in and out of the county juvenile facility. All is well until, without warning, a rival gang chases down Tre and Ricky with tragic results. Doughboy immediately prepares for revenge, forcing Tre to decide whether to jeopardize his future and, perhaps, his life for the price of revenge and self-respect. Sometimes riveting, Boyz'N the Hood is not without its problems. The film tries to cram every single issue facing the black community into an hour and a half of screen time, making the film seem at times forced. The symbolism seems forced as well, and the film is often unbearably heavy-handed. Also, the characterization often relies on cardboard cut-outs; every white character in the film is a one-dimensional bigot, and the black police officer with whom Tre and his father deal is even worse than his Caucasian counterparts. Still, the unevenness of the film is redeemed by some moments of true brilliance. ~ Jeremy Beday, All Movie Guide

In this stylized adaptation of her 1988 off-Broadway show, singer/actress/comedian Sandra Bernhard explores celebrity, stereotypes, and her own childhood in a series of monologues and musical numbers. Although much of the material comes straight from the original stage show, Bernhard and co-writer John Boskovich updated many of her pop-cultural musings and added several new production numbers. They also turned a one-woman show into something of a mockumentary, staging interviews with Bernhard's fictional manager (Lu Leonard) and adding several additional characters. Most of the action is staged in a theater full of well-heeled African American patrons who slowly leave in disgust at Bernhard's performance, which includes her deadpan fantasies about an imagined gentile childhood, a dalliance with Warren Beatty, and a trip to Studio 54. Originally given a limited release by New Line Cinema in 1990, Without You I'm Nothing was quickly pulled from theaters when the company that produced it went bankrupt. Eventually, however, it made its was to home video and DVD. ~ Brian J. Dillard, All Movie Guide