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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

Carl Reiner directs Steve Martin (who co-wrote the script with Carl Gottlieb) in this gag-laden comedy about an idiotic white man, raised by a poor family of black sharecroppers, who doesn't realize he's not black. Navin R. Johnson (Steve Martin) is told the horrible truth when he finds himself instinctively tapping his feet to an easy listening tune on the radio, instead of a low-down blues. His mother (Mabel King) tells him he's white and Navin takes to the road (in a World War II bomber helmet and goggles) to start a new life in St. Louis. A filling station owner, Harry Hartounian (Jackie Mason), give Navin his first break, hiring him to pump gas. One day at the station, Navin has a brainstorm, concocting an invention called "The Opti-grab," a combination handle and nose-brace for eyeglasses. But Navin runs into trouble when a crazed killer (M. Emmet Walsh) picks out his name at random from the telephone book and tries to kill him. Navin escapes to a traveling carnival, where he wrangles a job as the "guess-your-weight" man. At the carnival, he discovers his sexual nature, thanks to stunt rider and S&M enthusiast Patty Bernstein (Catlin Adams). But Navin meets the beautiful Marie (Bernadette Peters) and he quickly falls in love. In the meantime, the "Opti-grab" has taken off and soon Navin is a millionaire. ~ Paul Brenner, All Movie Guide

Compulsive neatnik Felix Unger (Jack Lemmon) is thrown out of his house by his divorce-bound wife. He wanders aimlessly through the streets of New York, toying with the idea of suicide, before gravitating to the apartment of his best friend, incorrigibly sloppy sportswriter Oscar Madison (Walter Matthau). Worried that Felix will try something desperate, Oscar, himself in the process of being divorced by his wife, invites Felix to move in with him. Within a few days, this mismatched pair is on the verge of mutual murder: Felix cannot abide Oscar's slovenliness, while Oscar is driven insane by Felix's obsession with cleanliness. A potentially passionate evening with Oscar's neighbors, the "coo-coo" Pigeon sisters (Monica Evans and Carole Shelley) is ruined when Felix, ruminating over his wife and children, reduces the two ladies to remorseful tears. Pushed to the brink, Oscar stalks around the apartment making as big a mess as possible. Comes the next week's poker game, and the previously vengeful Oscar is worried that Felix might have attempted to do away with himself again. Instead, a surprisingly self-confident Felix shows up to collect his belongings, then announces that he's temporarily moving upstairs with the toothsome Pigeon sisters! There's a laugh a second in this faithful movie adaptation of Neil Simon's hit Broadway play. A foolproof comic situation (allegedly based on a chapter in the life of Simon's brother Danny) is kept alive and healthy by some of the funniest dialogue ever written. The Odd Couple was later adapted into a long-running TV sitcom starring Tony Randall and Jack Klugman. ~ Hal Erickson, All Movie Guide

With his trademark emphasis on character development and dialogue, writer/director John Sayles tells the story of May-Alice Culhane (Mary McDonnell), a New York soap opera actress left paralyzed by a car accident. As the film opens, she lies in a hospital bed, confused and scared, watching her own show on TV and shrieking, "That was supposed to be my closeup!" With no other options, she returns to her family's old and empty Southern home, where she drinks hard, offends every caregiver, and wallows in self-pity. Her outlook begins to changes with the arrival of Chantelle (Alfre Woodard), a nurse with her own life problems. The two gradually find a heartfelt connection with one another, and, as a result, their lives subtly change. McDonnell's work in Passion Fish earned her an Oscar nomination as Best Actress. ~ Norm Schrager, All Movie Guide