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Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come. ~ Don Kaye, All Movie Guide

This 25-million dollar epic collaboration accurately recreates the events that led to the Japanese attack on the American naval base during World War II. With Germany's invasion of Poland on September 1, 1939, the wheels are set in motion by Japan to plan the attack. After internal differences in the government, the Japanese quickly mobilize plans for the assault. Key American personnel ignored warnings of the possibility of Japanese aggression. The first part of the film divides scenes from both countries. Part two contains spectacular battle scenes of the bombing that destroyed the American naval base of operations in Hawaii. Governmental errors on both sides add to the confusion, but the Japanese ultimately carry out the deadly mission. The film did well in Japan, did not do well in the he United States, and took years to make back the production costs. It remains an insightful and well crafted World War II action drama that was the result of years of negotiations between the two countries. ~ Dan Pavlides, All Movie Guide

Similar to the premise of American Graffiti, this film centers on eight California high school students whose lives intersect over two nights in the hot summer of 1965. As the Watts riots begin, the young people make decisions that will impact their entire lives. Writer-director Floyd Mutrux examines at the graduating class of 1965 of Westwood High School in Los Angeles, which was featured on the cover of Look magazine in 1961. The story is narrated by the class valedictorian, Mary Beth (Lucy Deakins). Kelli Williams plays Sunshine, a prototypical flower child. Characters played by Dermot Mulroney and Rick Schroder and others struggle with decisions about the Vietnam war, aspire to be rock musicians, and take divergent paths on politics while navigating various romantic entanglements. ~ Michael Betzold, All Movie Guide

A woman learns the value of friendship as she hears the story of two women and how their friendship shaped their lives in this warm comedy-drama. Evelyn Couch (Kathy Bates) is an emotionally repressed housewife with a habit of drowning her sorrows in candy bars. Her husband Ed (Gailard Sartain) barely acknowledges her existence, and while he visits his aunt at a nursing home every week, Evelyn is not permitted to come into the room because the old women doesn't like her. One week, while waiting out Ed's visit, Evelyn meets Ninny Threadgoode (Jessica Tandy), a frail but feisty old woman who lives at the same nursing home and loves to tell stories. Over the span of several weeks, she spins a whopper about one of her relatives, Idgie (Mary Stuart Masterson). Back in the 1920s, Idgie was a sweet but fiercely independent woman with her own way of doing things who ran the town diner in Whistle Stop, Alabama. Idgie was very close to her brother Buddy (Chris O'Donnell), and when he died, she wouldn't talk to anyone except Buddy's girl, Ruth Jamison (Mary-Louise Parker). Idgie gave Ruth a job at the cafe after she left her abusive husband, Frank Bennett (Nick Searcy). Between her habit of standing up for herself, standing up to Frank, and serving food to Black people out the back of the diner, Idgie raised the ire of the less tolerant citizens of Whistle Stop, and when Frank mysteriously disappeared, many locals suspected that Idgie, Ruth, and their friends may have been responsible. Evelyn finds herself looking forward to her weekly visits with Ninny, and is inspired by her story to take a new pride in herself and assert her independence from Ed. Fried Green Tomatoes was based on the novel Fried Green Tomatoes at the Whistle Stop Cafe by actress-turned-author Fannie Flagg, who makes a cameo appearance as the leader of a self-help group. ~ Mark Deming, All Movie Guide

Were it not for its profanity-laden opening scenes, John Hughes' Planes, Trains and Automobiles might have been suitable family entertainment: certainly it's heaps less violent and mean-spirited than Hughes' Home Alone. En route to Chicago to spend Thanksgiving with his family, easily annoyed businessman Neal Page (Steve Martin) finds his first-class plane ticket has been demoted to coach, and he must share his flight with obnoxious salesman Del Griffith (John Candy). A sudden snowstorm in Chicago forces the plane to land in Wichita. Unable to find a room in any of the four-star hotels, Neal is compelled to accept Del's invitation to share his accommodations in a cheapo-sleazo motel. Driven to distraction by Del's annoying personal habits, the ungrateful Neal lets forth with a stream of verbal abuse. That's when Del delivers the anticipated (but always welcome) "I don't judge, why should you?"-type speech so common to John Hughes flicks. The shamefaced Neal tries to make up to Del, but there's a bumpy time ahead as the mismatched pair make their way back to Chicago, first in a balky train, then by way of a refrigerator truck. We know from the outset that the oil-and-water Neal and Del will be bosom companions by the end of Planes, Trains and Automobiles, but it's still a fun ride. The best bit: a half-asleep Del thinking that he's got his hand tucked between two pillows -- until his bedmate, Neal, bellows "Those aren't pillows!" ~ Hal Erickson, All Movie Guide

As visually stylish as it is graphically violent, this thriller directed by Luc Besson concerns Mathilda (Natalie Portman), a 12-year-old girl living in New York City who has been exposed to the sordid side of life from an early age: her family lives in a slum and her abusive father works for drug dealers, cutting and storing dope. Mathilda doesn't much care for her parents, but she has a close bond with her four-year-old brother. One day, she returns from running an errand to discover that most of her family, including her brother, have been killed in a raid by corrupt DEA agents, led by the psychotic Stansfield (Gary Oldman). Mathilda takes refuge in the apartment of her secretive neighbor, Leon (Jean Reno), who takes her in with a certain reluctance. She discovers that Leon is a professional assassin, working for Tony (Danny Aiello), a mob kingpin based in Little Italy. Wanting to avenge the death of her brother, Mathilda makes a deal with Leon to become his protégée in exchange for work as a domestic servant, hoping to learn the hitman's trade and take out the men who took her brother's life. However, an affection develops between Leon and Mathilda that changes his outlook on his life and career. Besson's first American film boasted a strong performance from Jean Reno, a striking debut by Natalie Portman, and a love-it-or-hate-it, over-the-top turn by Gary Oldman. Léon was originally released in the U.S. in 1994 as The Professional, with 26 minutes cut in response to audience preview tests. Those 26 minutes were restored in the director's preferred cut, released in 1996 in France as Léon: Version Intégrale and in the U.S. on DVD as Léon: The Professional in 2000. ~ Mark Deming, All Movie Guide