William Friedkin

Director Olivier Jahan offers an glimpse into The Director's Fortnight, a sidebar of the Cannes Film Festival conceived by a group of filmmakers known as the Société des Réalisateurs de Films who sought to counter the academism of the main part of the world-renowned festival. Pierre-Henri Deleau, the one-time artistic director of the Société des Réalisateurs de Films, and as his successor Olivier Père take movie lovers behind the scenes as the dedicated group of filmmakers prepare for the 2007 Director's Fortnight. Archive footage, film clips, and interviews with over two-dozen directors offer a comprehensive look at forty years of cinematic rebellion. ~ Jason Buchanan, All Movie Guide

Axel Schill's non-fiction work The Man Who Shot Chinatown: The Life and Work of John A. Alonzo joins Light Keeps Me Company, Tell Them Who You Are, and other recent documentaries in paying homage to one of the world's great cinematographers. Active from the early 1960s until just before his death in early 2001, Alonzo beat the odds as a young man by migrating to the U.S. as a Mexican farmer's son and then working his way up to ultimately qualify as one of the most revered cinematographers in the American film industry. Among other accomplishments, he lit a string of contemporary classics including Harold and Maude (1971), The Bad News Bears (1976), Scarface (1983), and Steel Magnolias (1989). Schill cuts together interviews with such Alonzo collaborators as Richard Dreyfuss, Sally Field, and Michael Crichton, and illustrates many of their observations with clips from the esteemed director of photography's finest work. ~ Nathan Southern, All Movie Guide

In the late '60s, American culture experienced a period of change as the youth movement challenged conventional attitudes about politics, sex, drugs, and gender issues, while the advancement of the Vietnam War found many citizens questioning the actions and wisdom of their government for the first time. As American attitudes continued to evolve, so did the American film industry; as costly big-budget blockbusters nearly brought the major studios to the brink of collapse, smaller and more personal films such as Bonnie and Clyde, Easy Rider, and Five Easy Pieces demonstrated there was a ready audience for bold and challenging entertainment. As the '60s faded into the 1970s, American cinema moved into an exciting period of creativity and stylistic innovation, which led to such landmark films as The Godfather, MASH, The Last Picture Show, Shampoo, One Flew Over the Cuckoo's Nest, Chinatown, and Taxi Driver, and new freedom for directors and screenwriters. Ironically, however, it was another pair of big-budget blockbusters directed by students of the new wave of filmmaking -- Jaws and Star Wars -- which brought the studios back to power and put an end to Hollywood's flirtation with offbeat creativity. A Decade Under the Influence is a documentary which explores the rise and fall of new American filmmaking in the 1970s, and features interviews with many of the key directors, screenwriters, and actors whose work typified the movement, including Francis Ford Coppola, Robert Altman, Martin Scorsese, Paul Schrader, Roger Corman, Dennis Hopper, Jon Voight, and Julie Christie. A Decade Under the Influence received its world premier at the 2003 Sundance Film Festival, and an expanded version of the film was later shown on the premium cable outlet The Independent Film Channel; the documentary was the final work of co-director Ted Demme, who died shortly before the film was completed. ~ Mark Deming, All Movie Guide

In this drama, two U.S. Marines who stood side by side on the field of battle are reunited in a court of law. Attorney Hayes Hodges (Tommy Lee Jones) once aspired to a career as an officer, but a serious injury in Vietnam put an end to his military future, leaving him bitter and resentful. Col. Terry L. Childers (Samuel L. Jackson) fought alongside Hodges and once saved his life; when Childers is threatened with a court martial for ordering his troops to fire on civilians during a raid on an American embassy, Hodges is the only lawyer that he can trust, and the case gives Hodges a chance for revenge against the military system that he feels has wronged him. Rules of Engagement also features Kim Delaney, Ben Kingsley, Blair Underwood, and Anne Archer. ~ Mark Deming, All Movie Guide

A jury argues a case in a stuffy room on a hot summer's day. Eleven say "guilty!" But one holdout (Jack Lemmon) is convinced of the defendant's innocence and stubbornly argues "reasonable doubt." This tense courtroom drama is a remake of Sidney Lumet's 1957 favorite and was produced for the Showtime cable network. ~ Sandra Brennan, All Movie Guide

A poster boy of the American new wave, William Friedkin directed such classics as The French Connection and The Exorcist. This video profile focuses on Friedkin's life and career. ~ Jonathan Crow, All Movie Guide

Blue Chips examines greed, cheating, and "winning at all costs" in the world of college basketball. Nick Nolte plays the stressed-out coach on the verge of his first losing season, who hits the road in search of new players not already signed by a bigger school. He finds three prospects: a precision Chicago shooter (Anfernee Hardaway), a giant farmboy (Matt Nover), and a talented troublemaker (Shaquille O'Neal). All three, wise to the ways of college basketball recruitment, make excessive financial and lifestyle demands before they can be persuaded to come to the school; the coach, already haunted by accusations of underhanded dealings, doesn't want to dig himself a deeper hole but has no choice. ~ Don Kaye, All Movie Guide

William Friedkin, a product of television, returned to the small screen to direct the made-for-TV feature C.A.T. Squad. The titular acronym stands for Counter Assault Tactical. The heroes and heroines are fitted out with state-of-the-art hardware and weaponry that would make the Teenage Mutant Ninja Turtles pale with envy. Captained by Joe Cortese, the squad is assigned to an anti-terrorist mission, the goal of which is to protect a top-secret laser project. Filmed in Canada and Mexico, C.A.T. Squad was plagued by a tiny budget that grew tinier with each passing day. Friedkin had hoped to include an elaborate car chase in the manner of his earlier French Connection, but the money ran out before the vehicles could gas up. First telecast August 27, 1986, C.A.T Squad was followed by a TV movie sequel, C.A.T. Squad: Python Wolf. ~ Hal Erickson, All Movie Guide

The humor in this Chevy Chase comedy lies solely in the eyes of the beholder. The comic plays Eddie Muntz, an arms dealer looking to make a big sale of war planes to a South American dictator. In order to do so, his girlfriend (Sigourney Weaver) has to sleep with the dictator and his friend (Gregory Hines) has to be convinced to do one more killing. Eddie's archenemy is Stryker (Vince Edwards) who wants to make that deal himself and will stop at nothing to obtain his ends. ~ Eleanor Mannikka, All Movie Guide

In 1950, a Brink's armored truck in Boston was robbed by a highly organized gang decked out in Halloween masks. The Brink's Job is an occasionally humorous account of that "perfect crime." Peter Falk stars as the mastermind behind the robbery, who assembles a bunch of two-bit hoods who in any other circumstance would be written off as born losers. The success of the caper hinges upon Brink's rather arrogant assumption that its trucks are unassailable and their guards are always on their toes. Wrong on both counts! This comic suspenser was based on The Big Stick Up at Brink's, a book by Noel Behn. ~ Hal Erickson, All Movie Guide

Novelist William Peter Blatty based his best-seller on the last known Catholic-sanctioned exorcism in the United States. Blatty transformed the little boy in the 1949 incident into a little girl named Regan, played by 14-year-old Linda Blair. Suddenly prone to fits and bizarre behavior, Regan proves quite a handful for her actress-mother, Chris MacNeil (played by Ellen Burstyn, although Blatty reportedly based the character on his next-door neighbor Shirley MacLaine). When Regan gets completely out of hand, Chris calls in young priest Father Karras (Jason Miller), who becomes convinced that the girl is possessed by the Devil and that they must call in an exorcist: namely, Father Merrin (Max von Sydow). His foe proves to be no run-of-the-mill demon, and both the priest and the girl suffer numerous horrors during their struggles. The Exorcist received a theatrical rerelease in 2000, in a special edition that added 11 minutes of footage trimmed from the film's original release and digitally enhanced Chris Newman's Oscar-winning sound work. ~ Hal Erickson, All Movie Guide

"The Boys in the Band is not a musical" read the film's original advertisements. The film is set in the apartment of Michael (Kenneth Nelson), a homosexual who holds a birthday party for his friend Harold (Leonard Frey). As Michael and his gay buddies prepare for Harold's arrival, Michael's old college chum Alan (Peter White) makes a surprise appearance. Alan is straight, so Michael tells the revellers to watch their step. Alan's uptight reaction to gay Emory (Cliff Gorman) foments a confrontation. The embittered Michael tries to prove that Alan is a latent homosexual by staging a perverse game in which all the partygoers are required to declare their affections for the persons that they love the most. As it turns out, the person most injured by this game is Michael himself, who is incapable of loving anyone. As the first major-studio production to deal frankly with homosexuality, every member of the show's original Broadway cast appears in the film, including Laurence Luckinbill as an out-of-the-closet husband and father. ~ Hal Erickson, All Movie Guide