David Newman Movies

Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.

Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, Rovi

This 1993 box-office smash partly adheres to the 1960s TV series on which it is based and partly goes off on several tangents of its own. Harrison Ford stars as Dr. Richard Kimble, convicted of murdering his wife. While being transferred to prison by bus, Kimble is involved in a spectacular bus-train collision (one of the best of its kind ever filmed). Surviving the disaster, Kimble escapes, vowing to track down the elusive professional criminal whom he holds responsible for the murder. Dogging the fugitive every foot of the way is U.S. marshal Sam Gerard (an Oscar-winning turn by Tommy Lee Jones), who announces his intention to search "every whorehouse, doghouse, and outhouse" to bring Kimble to justice. Unlike his dour TV-series counterpart Barry Morse, Jones plays the role with a sardonic sense of humor: when a cornered Kimble screams, "I didn't kill my wife," Gerard shrugs and famously replies, "I don't care." Once the premise has been established, scripters Jeb Stuart and David Twohy and director Andrew Davis pull off several audacious plot twists, ranging from Kimble's rendezvous with a sympathetic lab technician to a jaw-dropping dive into a huge waterfall. The second half of the film offers one surprise after another (including the true identity of the murderer), brilliantly avoiding the letdown that plagues many movie adaptations of old TV series. ~ Hal Erickson, Rovi

Even non-fans of Michael Jackson will be caught up in the exuberance and virtuosity of Moonwalker. This 84-minute music video casts The Gloved One as host of a futuristic TV special. Highlights include an extended Claymation sequence and a 3-D vignette put together by the Disney Company. The most endearing aspect of Moonwalker is Jackson's willingness to poke fun at his own tabloid-headline image. ~ Hal Erickson, Rovi

Based on the famous comic strip, Sheena chronicles the adventures of the title character (Tanya Roberts), a fair-skinned orphan taken in by a kindly Zambouli priestess (Elizabeth of Toro, a real-life African queen) in a remote African village and trained in the ancient arts of makeup and hairstyling. When American newsmen Fletcher (Donovan Scott) and Vic (Ted Wass) travel to her homeland to cover a story on Prince Otwani (Trevor Thomas), they uncover his plot to assassinate his brother, the reigning prince (a renowned field-goal kicker), and frame the priestess for the crime. Sheena joins forces with the newsmen to stop him and restore order to the country. Although Roberts looks great in a loincloth, her assets alone cannot save this turkey; one wonders where the jungle princess manages to plug in her blow-dryer. This ridiculous film was panned across the board upon its release and subsequently bombed. ~ Jeremy Beday, Rovi

Jinxed is an apt name for this disastrous project which, sadly, turned out to be Don Siegel's final film. The film takes place in Reno, where blackjack dealer Willie Brodax (Ken Wahl) becomes an innocent victim of a broken-down gambler named Harold Benson (Rip Torn). Such is Willie's luck that when he sees Benson sit down at his blackjack table, he realizes that he will soon be out of a job. Benson is also giving his girlfriend Bonita Friml (Bette Midler) a difficult time. When she notices Willie and sees how Bensen is putting him through the wringer, she begins to fall for him and gets him involved in a scheme to kill her boyfriend. ~ Paul Brenner, Rovi

Between giving up his super powers, confronting criminals from outer space, and having problems with his girlfriend, it's a bad time to be the Man of Steel in this sequel to the 1978 blockbuster. When terrorists threaten to destroy Paris with a thermonuclear device as they hold reporter Lois Lane (Margot Kidder) hostage, Superman (Christopher Reeve) comes to the rescue and flings the weapon into space. However, its blast outside the earth's orbit awakens Zod (Terence Stamp), Ursa (Sarah Douglas), and Non (Jack O'Halloran), three villains from Superman's home planet of Krypton who were exiled to outer space for their crimes. Zod and his partners arrive on Earth and use their powers in a bid to take over the U.S., and then the world. However, when Lois realizes that mild mannered Clark Kent and Superman are actually the same person, he brings her to his Fortress of Solitude, where his decision to marry Lois costs him his remarkable strength. Without his super powers, how can Superman vanquish Zod and save the world? Gene Hackman, Ned Beatty, Susannah York, and Jackie Cooper return from the first film, which was shot at the same time as parts of the sequel. ~ Mark Deming, Rovi

Set during the Civil War, Bad Company stars Barry Brown as a Northern boy, Drew Dixon, who heads West to avoid getting drafted. He falls under the spell of Jake Rumsey (Jeff Bridges), an easygoing young con artist. Drew joins Jake's gang of boy bandits, who live by their wits and try to avoid confrontation with adult criminals like Big Joe (David Huddleston). It is Drew who must eventually save Jake from hanging, even though he realizes that his intervention could lead to his own execution. ~ Hal Erickson, Rovi

A production of Oh! Calcutta!, the late-'60s off-Broadway play that received infamy as the first nude musical, is captured here. The film is a record of the play rather than a cinematic adaptation, leaving its staging, revue-like structure, and frankly sexual content intact. ~ Judd Blaise, Rovi

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, Rovi