Thomas G. Waites Movies

A white youth is killed in a black neighborhood after a botched drug deal. The victim's racist father (Thomas G. Waites) arouses the ire of Lt. Fancy (James McDaniel), resulting in a controversial confrontation. Elsewhere, Greg (Gordon Clapp) and Jill (Andrea Thompson) investigate when an African-born youth finds his mother's butchered body in their refrigerator. And while taking sick leave, Diane (Kim Delaney) suffers a miscarriage. When originally telecast, this episode ended with a surprise musical rendition by the entire cast of "Stop in the Name of Love" (running during the end credits), as a promotion for an upcoming network special commemorating the 40th anniversary of Motown. ~ Hal Erickson, Rovi

Love and political ambition both run afoul of deceit in this suspense story. Sam Brady (Corbin Bernsen) is a federal District Attorney willing to do whatever it takes to get to the top, including extorting incriminating information from Mulroney (Thomas G. Waites), a corrupt police officer, in order to ruin the reputation of the son of a prominent senator. Sam is also involved with two women at once, Barbara (Jane Heitmeyer) and Genevieve (Maryam d'Abo), a situation made all the more complicated by the fact that the two women are close friends. When Sam discovers that Genevieve is pregnant with his child, he reluctantly breaks off his relationship with Barbara and asks Genevieve to marry him. However, Sam's flirtation with danger in his career and personal life has dangerous consequences when he discovers that he's being followed, and someone is using supernatural means to get their vengeance against him. An American Affair maked the debut of director Sebastian Shah. ~ Mark Deming, Rovi

A pair of New York City cops collaborate on a plan to rob a cash-packed subway train in this action-comedy. Charlie (Woody Harrelson) and John (Wesley Snipes) are not just co-workers and close friends but also foster brothers. Because of this family connection, the reluctant John becomes involved in the more capricious Charlie's far-fetched scheme to rob the "money train" that collects the subway's daily grosses. Charlie needs the money for gambling debts, and robbing the train would have the added benefit of angering Charlie's and John's harsh, corrupt boss Captain Patterson (Robert Blake). Romantic interest is provided by a fellow police officer (Jennifer Lopez) who sparks rivalry between the brothers, but the film's main interest is in the violent events that surround the attempted heist, which naturally proves more complicated than planned. The film attempts to capitalize on the chemistry between Snipes and Harrelson, who had previously had a hit comedy with White Men Can't Jump (1992), but Joseph Ruben's unexceptional direction and a bland screenplay by Doug Richardson and David Loughery make the film less distinctive than its predecessor. ~ Judd Blaise, Rovi

This directorial effort from Phil Joanou stars Sean Penn as an Irish-American undercover cop working the Hell's Kitchen beat. Penn is ostensibly on a sentimental journey to his old neighborhood. Actually he's been assigned to infiltrate a criminal gang led by Ed Harris, the brother of Sean's best friend Gary Oldman. Penn suffers the requisite honor vs. duty anguish when he renews his childhood romance with Harris' sister Robin Wright. State of Grace would have had more clout had it been more clear as to time and place: it's supposedly set in the 1990s, but the attitudes and behavior are pure 1970s. ~ Hal Erickson, Rovi

This crime drama tells the story of the man behind the terrible Kansas City massacre, Verne Miller. Miller started out as a South Dakota sheriff and during the 1920s became a notorious gangster hit man. He started out doing jobs for Al Capone in Chicago and was so good at his job that Capone appointed him head of his Kansas City operation. The trouble begins when Miller thinks he has more power than he actually does and defies his boss to save two captured gangsters. ~ Sandra Brennan, Rovi

Cinematographer Michael Chapman directed this John Sayles adaptation of Jean M. Auel's best-selling ode to Cro-Magnon women. The story begins at the moment in pre-history when the last of the Neanderthal men were becoming extinct and the superior race of Cro-Magnons were starting to supersede them. Focusing on a tribe of wandering Neanderthals who adopt a young girl named, Ayla (played as an adult by Daryl Hannah). She grows tall, lithe, and smart. The Neanderthals quickly accept her into their tribe, but once a tribal member, Ayla begins to question the tribe's male chauvinistic presumptions. Unable to conceive of why only men are given weapons, she takes it upon herself to learn how to use a slingshot. She then questions the tribe's assumptions concerning sexual politics. She learns to count and becomes the assistant to the local medicine expert. As the seasons wear on, the tribe utilizes Ayla's knowledge for their own good while Ayla's continues to try the patience of the tribe with her unspeakable feminist demands. ~ Paul Brenner, Rovi

John Carpenter's The Thing is both a remake of Howard Hawks' 1951 film of the same name and a re-adaptation of the John W. Campbell Jr. story "Who Goes There?" on which it was based. Carpenter's film is more faithful to Campbell's story than Hawks' version and also substantially more reliant on special effects, provided in abundance by a team of over 40 technicians, including veteran creature-effects artists Rob Bottin and Stan Winston. The film opens enigmatically with a Siberian Husky running through the Antarctic tundra, chased by two men in a helicopter firing at it from above. Even after the dog finds shelter at an American research outpost, the men in the helicopter (Norwegians from an outpost nearby) land and keep shooting. One of the Norwegians drops a grenade and blows himself and the helicopter to pieces; the other is shot dead in the snow by Garry (Donald Moffat), the American outpost captain. American helicopter pilot MacReady (Kurt Russell, fresh from Carpenter's Escape From New York) and camp doctor Copper (Richard Dysart) fly off to find the Norwegian base and discover some pretty strange goings-on. The base is in ruins, and the only occupants are a man frozen to a chair (having cut his own throat) and the burned remains of what could be one man or several men. In a side room, Copper and MacReady find a coffin-like block of ice from which something has been recently cut. That night at the American base, the Husky changes into the Thing, and the Americans learn first-hand that the creature has the ability to mutate into anything it kills. For the rest of the film the men fight a losing (and very gory) battle against it, never knowing if one of their own dwindling number is the Thing in disguise. Though resurrected as a cult favorite, The Thing failed at the box office during its initial run, possibly because of its release just two weeks after Steven Spielberg's warmly received E.T.The Extra-Terrestrial. Along with Ridley Scott's futuristic Alien, The Thing helped stimulate a new wave of sci-fi horror films in which action and special effects wizardry were often seen as ends in themselves. ~ Anthony Reed, Rovi

In this melodramatic prison flick a convicted killer makes a bad impression on his fellow inmates after he causes trouble with the leader of the prisoners. ~ Sandra Brennan, Rovi