Ernest R. Dickerson Movies

Set at the turn of the 20th century on the tropical island of Curacao, this drama of magic, fantasy, and legend is an interesting blend of styles that also provides scenic views and musical numbers that maintain interest. Solem (Marian Rolle) is a village sorceress whose job is to keep away evil spirits and induce the gods to bring rain. (Since rainy and dry seasons alternate every six months, the gods seem pretty dependable.) While Solem is gathering herbs one day, she comes across a wounded man who is really a manifestation of one of the evil spirits in disguise - an "Alma Sola" or "lone soul." A sorceress is supposed to remain a virgin, but this lone soul does the unthinkable and seduces her. After Solem gives birth, the villagers are no longer inclined to believe in her virtue. Solem, her baby daughter, and her helper Lucio are driven out of the village and face a period of hardship. To make matters worse, the father is now after her baby. ~ Eleanor Mannikka, Rovi

Gabriel is a mural painter from Dutch Surinam who has been hired to paint a mural of the Virgin Mary in a church in Curaçao. Curaçao is a self-governing island in the Netherlands Antillees off the coast of South America. In the story, he has taken a mixed-race woman as his model, and the emerging picture, with its negroid features, is creating quite a stir. Meanwhile, he has fallen in love with his model, who is engaged to a white police officer, and the wife of the island's governor has fallen in love with him. ~ Clarke Fountain, Rovi

Lawyer John Williams (Courtney B. Vance) looks back in flashback to 1957 when he began as a lawyer while living in the Bronx with his older brother, Charles (Charles S. Dutton). Married to Carol (Lonette McKee), Charles is the NYPD's first African-American sergeant, and he plans a police exam for his oldest son, Charlie (Garland Whitt), who would rather study art. After a call that Charlie is under arrest for the murder of a white boy, John suspects he was beaten and forced to confess by the cops, but Charlie claims he did indeed kill an Irish-American youth. John takes on the case, feeling that Charlie is hiding something -- while the courts, police, and the public are all ready to see Charlie electrocuted. Director Ernest Dickerson (Juice) filmed in Toronto. Shown at the 1998 Sundance Film Festival. ~ Bhob Stewart, Rovi

This post-modern comic variation on The Defiant Ones concerns Keats (Damon Wayans), an undercover police detective trying to get the goods on crime kingpin Frank Colton (James Caan). Keats poses as a crook to make friends with one of Colton's underlings, a drug dealer and car thief named Archie Moses (Adam Sandler). Keats is using Archie as part of a sting operation to put Colton away; however, Archie doesn't care for this, and when he finds out Keats's true plan and actual identity, it leads to an altercation that ends with Archie shooting Keats in the head. Several months later, Keats emerges from the hospital with a metal plate in his skull, and he has to bring Archie in. However, now Archie and Keats are both on Colton's enemies list, and the two find themselves on the run in Arizona, trying to outwit Colton's team of assassins, but having Archie on hand doesn't do much good in the outwitting department. Bulletproof was directed by Ernest Dickerson, who got his start as a cinematographer for Spike Lee. ~ Mark Deming, Rovi

Writer/producer/director James Bond III also stars in this innovative supernatural thriller as Joel, a divinity student from rural North Carolina who has a serious crisis of faith and travels to New York to seek the advice of his friend, aspiring actor K (Kadeem Hardison). In an effort to loosen up his conservative companion, K gives him a taste of New York nightlife -- personified by an alluring club vamp with the less-than-subtle name of Temptation (Cynthia Bond). Although her true nature as a soul-stealing succubus is more than obvious to the audience (particularly after several scenes of unsuspecting wannabe players torn limb-from-limb), Temptation nevertheless ensnares naïve, innocent Joel in her devilish spell, prompting K to investigate the woman's background with a little help from a detective (Bill Nunn) determined to connect her with several murders. Bond's intelligent morality play is a step above simple homage to horror and blaxploitation genres of the '70s, avoiding many of those films' stereotypes to present three-dimensional characters and realistic dialogue. The vibrant, color-rich cinematography is the work of frequent Spike Lee collaborator Ernest R. Dickerson. ~ Cavett Binion, Rovi

This grim Dutch drama, filmed in New York with English-speaking actors, is based on a real story that occurred in 1980. The film opens as a black mother in an psychotic state believes her baby to be possessed. She takes the child and burns it alive in the oven. The woman then begins roaming the street carrying an imaginary baby. As she wanders, flashbacks of her life appear. Her oppressive mother dominated her. The girl endured a series of her mother's "uncles." The girl, then gets involved with the True Confessors, an extreme, conservative Christian group. When the girl gets pregnant, she is thrown out of the church. The pressures of her lonely life become too much and her sanity begins slipping away. ~ Sandra Brennan, Rovi

Director Spike Lee dives head-first into a maelstrom of racial and social ills, using as his springboard the hottest day of the year on one block in Brooklyn, NY. Three businesses dominate the block: a storefront radio station, where a smooth-talkin' deejay (Samuel L. Jackson) spins the platters that matter; a convenience store owned by a Korean couple; and Sal's Famous Pizzeria, the only white-operated business in the neighborhood. Sal (Danny Aiello) serves up slices with his two sons, genial Vito (Richard Edson) and angry, racist Pino (John Turturro). Sal has one black employee, Mookie (Spike Lee), who wants to "get paid" but lacks ambition. His sister Jade (Joie Lee, Spike's sister), who has a greater sense of purpose and a "real" job, wants Mookie to start dealing with his responsibilities, most notably his son with girlfriend Tina (Rosie Perez). Two of Mookie's best friends are Radio Raheem (Bill Nunn), a monolith of a man who rarely speaks, preferring to blast Public Enemy's rap song Fight The Power on his massive boom box; and Buggin' Out (Giancarlo Esposito), nicknamed for his coke-bottle glasses and habit of losing his cool. When Buggin' Out notes that Sal's "Wall of Fame," a photo gallery of famous Italian-Americans, includes no people of color, he eventually demands a neighborhood boycott, on a day when tensions are already running high, that incurs tragic consequences. ~ Mark Deming, Rovi

In this violent crime drama, the residents of a New York City housing project live in fear of The Vampires, the brutal gang that continually terrorizes them. Things change after an insurance agent and a telephone repairman end up trapped there. Perhaps things would not be so desperate had the fellow not accidentally offended one of the gang members. ~ Sandra Brennan, Rovi

This classy diptych of campus-based horror tales overcomes its limited budget with imaginative writing and some fairly effective supernatural setpieces. The first installment, "Fright House," involves a devil-worshipping psychiatrist (Jennifer DeLora) performing ritual human sacrifices on a college campus, then disguising the deaths as suicides. After losing his partner while investigating the house where many of the deaths took place, a police detective (Julien Paul Borghese) is granted supernatural aid by the house's former owner. The second tale, "Abadon," is a stylish twist on the vampire formula about a college professor (Jackie James) who continues her late husband's experiments in immortality, unaware that she has unleashed an ageless energy-vampire who begins preying on her students. Her work attracts the interest of a mysterious stranger (Night of the Living Dead's Duane Jones), who has some interesting theories of his own -- and who turns out to be a vampire himself. Munsters fans will be impressed by the stylings of top-billed Al Lewis as a sinister police chief in the first installment. ~ Cavett Binion, Rovi

A black family gets a first-hand look at the trials and tribulations of upward mobility and suburban segregation in this pointed comedy. In 1973, Tom (Danny Glover) is an African-American attorney who is determined to raise himself up by his own bootstraps from his position near the bottom of the totem pole at a law firm. Tom takes on a case no one else is willing to touch -- defending a confessed arsonist whose crime claimed the lives of two teenagers -- and when he manages to score a surprising legal victory for his client, Tom is given a promotion and he moves his family to a new home in the suburbs. However, Tom and his wife Mabel (Whoopi Goldberg) discover they're only the second black household to move into the neighborhood (the first was a woman who struck it rich in the lottery), and housewife Mabel soon learns her neighbors aren't especially open to the notion of ethnic diversity in their community. Good Fences was directed by former cinematographer Ernest Dickerson and produced in part by his frequent collaborator Spike Lee; the film was screened in competition at the 2003 Sundance Film Festival. ~ Mark Deming, Rovi

Cinematographer Ernest R. Dickerson directed and co-wrote this crime drama about a group of friends who get involved in a robbery. Bishop (Tupac Shakur), Q (Omar Epps), Raheem (Khalil Kain), and Steel (Jermaine Hopkins) are four Harlem friends who spend their days skipping school, getting in fights, and casually shoplifting. The only member of the group who has plans for the future is Q, who dreams of becoming a deejay. But one day Bishop happens to see James Cagney in White Heat and the film inspires him to buy a gun. His plan is to rob a corner store and split the money. Everyone goes along with the plan except for Q, who is competing that night in a deejay contest. At the club, Q is a rousing success, but he spies the stern faces of his friends through the cheering crowd and realizes that he has to go along with the robbery, which goes completely wrong. ~ Paul Brenner, Rovi

In-between rappin' numbers by groups like Run-DMC and The Fat Boys, an almost unnoticeable plot unfolds as manager Russell (Blair Underwood) desperately looks for funding to press more records for Run-DMC's first hit. This gets him into deep water when he borrows from the wrong man and then is left behind after his performers hit the charts and are off on a better life. But all is not lost, after more rap and rock by everyone, the clan returns with salvation at hand. ~ Eleanor Mannikka, Rovi

'In the criminal justice system, the people are represented by two separate, yet equally important, groups: the police, who investigate crime, and the district attorneys who prosecute the offenders. These are their stories.' With this pithy but all-inclusive prologue, thus began each hour-long episode of Law & Order, American network television's longest-running police drama. This was not the first such program to equally divide its time between the arrest and the trial; indeed, there had been a series precisely titled Arrest and Trial back in 1963. But Law & Order was easily the most popular and successful of the batch, and as the series eased gracefully past its 11th, 12th, and 13th season, it was very likely that its creator and executive producer Dick Wolf would fulfill his dream of matching and even surpassing the longevity of Gunsmoke, which lasted 20 years, setting a record as American network television's most durable dramatic series. Although Law & Order boasted a large and fluid ensemble cast, there were no real "stars" per se, save for the city of New York (a point made by scores of TV historians, notably Tim Brooks and Earle Marsh). Virtually every episode starts out with the discovery of a dead body or evidence of a violent crime. A pair of NYPD detectives arrive on the scene, begin gathering evidence and eyewitnesses at the behest of their superiors, and -- generally after a handful of frustrating dead ends and false leads -- manage to collar the principal suspect. The story then shifts to the offices of the DA, where a team of brilliant prosecuting attorneys do their best to build a case against the accused, dodging the obstructive tactics of defense lawyers all along the way. Even when the case gets to court, the story is far from over, with several twists and turns -- and usually a shocking and unexpected denouement -- awaiting both the prosecutors and the viewer. The series made its NBC network debut Thursday, September 13, 1990, moving to its originally scheduled Tuesday-night slot October 23. The original cast included, on the side of "Law," chubby, hard-boiled veteran detective Sgt. Max Greevey (George Dzundza) and his younger, more athletic partner, Mike Logan (Chris Noth). Their supervisor was Captain Donald Cragen, played by Dann Florek. Once the detectives had completed their share of the work, the scene changed to the "Order" team of District Attorney Adam Schiff (played by Steven Hill), who appeared in all but the pilot episode, and a brace of intense, dedicated assistant DAs, the Caucasian Ben Stone (Michael Moriarty) and African-American Paul Robinette (Richard Brooks). The program's first season had several distinctions: In keeping with network's promise of delivering TV's top "action series," the scenes in which Greevey and Logan track down the perp are top-heavy with noise and violence (generally implied, but not always so), vertigo-inducing handheld camerawork and punchy background music. Also, individual scenes run a bit longer than the later short-and-sweet vignettes that would become the series' stylistic trademark. And unlike the relatively dispassionate detectives seen in later seasons, Greevey and Logan tend to become emotionally involved in their work; similarly, lawyers Stone and Robinette seem to take every legal setback personally, much more so than their successors in the series' subsequent years, although DA Schiff exhibits as much calm, stoic integrity in his first appearance as he would in his last, a decade later. Even in its earliest episodes, however, the emphasis is on the story rather than personalities: All we learn of the regulars' private lives is revealed in fragmentary fashion, and only when it bears some relevance. Fans of the latter-day Law & Order will notice that the first season lacks the gender balance of the series' later years -- or, put more bluntly, the series was pretty much an "all boys' club." Although dozens of prominent actresses appeared in supporting roles, there were no regular female characters, a fact that tended to weaken the series' ratings in its formative seasons. Still, it would not be until the fourth season began in 1993 that any distaff characters would be added to the weekly lineup. One element of the series was established early on and would remain in place forever afterward: Most of the stories on Law & Order were "ripped from today's headlines," often with only the names changed to protect the innocent (?). In season one alone, the series offers fictionalizations of the Bernard Goetz subway shootings, the Menendez killings, the Central Park "Preppie Murder," the "Mayflower Madam," the Tawana Brawley imbroglio, and the Steinberg child-murder case. So close did the last-named episode come to the actual facts that the series' producers were compelled to include a disclaimer at the beginning of several episodes, assuring viewers that, although the story was inspired by real happenings, the script itself was otherwise purely a work of fiction. The fact that Law & Order was frequently pre-empted by network specials indicated that NBC wasn't all that sure of the series' success. By the end of the first season, however, the ratings, if not spectacular, were good enough to warrant a renewal -- while backstage intrigues assured that the series would undergo the first of its many abrupt cast changes. ~ Hal Erickson, Rovi