Dede Allen

First-time filmmaker Omar Naim writes and directs the sci-fi drama The Final Cut. Set in the near future, the story concerns a microchip that is capable of recording a person's entire life. Robin Williams plays Alan Hakman, an editor who cuts together the footage to make pleasant movies for funerals. Tormented by his job and his own memories, Alan also has a troubled romantic relationship with bookseller Delilah (Mira Sorvino). While looking through footage for his next project, Alan discovers a man whom he believes is from his own past. Meanwhile, former editor Fletcher (James Caviezel) wants the footage for his own purposes. The Final Cut was shown at the Berlin Film Festival in 2004. ~ Andrea LeVasseur, All Movie Guide

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, All Movie Guide

In this comedy, a middle-aged man juggles his problems with women, literature, and a career, while a younger man chases the artifact of his dreams. Pittsburgh college professor Grady Tripp (Michael Douglas) is currently single following his divorce from his third wife; after publishing an acclaimed first novel, Grady has been working on a follow-up, but he's been sidelined by a severe case of writer's block. Grady has more than his writing career to think about; his affair with one of the (married) chancellors at the University of Pittsburgh (Frances McDormand), has resulted in her pregnancy, while Hannah (Katie Holmes), a student boarding at Grady's house, has developed a crush on him. While Grady is obsessed with his book, one of his students (Tobey Maguire) has an obsession of his own: finding a jacket once owned by Marilyn Monroe. Based on the novel by Michael Chabon, The Wonder Boys also features Robert Downey Jr., Rip Torn, and Richard Thomas. ~ Mark Deming, All Movie Guide

The real-life relationship between two of the most controversial literary figures of the 20th century forms the basis for this drama. Anaïs Nin (Maria de Medeiros) is a struggling author trying to finish her first book, a study of the work of D.H. Lawrence. She also has a keen sexual curiosity that is not being satisfied by her sweet but unexciting husband, Hugo (Richard E. Grant). Through Hugo's friend Richard (Kevin Spacey), Anaïs is introduced to Henry Miller (Fred Ward), a writer from America who shares Anaïs' passion for both eros and literature; she is later introduced to June (Uma Thurman), Henry's wife and a practicing bisexual. While Anaïs is attracted to Henry, to her surprise, she's even more strongly drawn to June; June, however, must return to America, and with her approval, Henry and Anaïs begin an affair. Anaïs' newfound sense of sexual liberation leads her to several new lovers over the next several months, but she and Henry find themselves pursuing the same object of affection when June returns to Paris. Henry & June's frank but tasteful treatment of sexual themes led the MPAA to threaten the film with an X-rating; instead, the film became the first feature released with the revised NC-17 classification. ~ Mark Deming, All Movie Guide

It's advisable to know from the beginning of The Milagro Beanfield War that "milagro" is the Spanish word for "miracle". The scene is a rundown Hispanic community in New Mexico, bordering a posh housing development. In full control of the local water rights, the powers-that-be are secure in the belief that they'll be able to expand their development without resistance from the locals. No one can foresee that impoverished farmer Chick Vennera, during a burst of frustrated rage, will accidentally open a heretofore hidden sluice, thereby providing free water for his beanfield. At first, the locals are against Vennera's "insurrection", reasoning that the new housing development will provide jobs. But with the help of John Heard, a burned-out 60s activist who now runs the community newspaper, Vennera becomes the hero of the hour, the spiritual leader of an ever-growing "no development" movement. The evil land developers send their minions to intimidate or coerce Vennera; each time, however, he is seemingly protected from harm by Divine intervention. When Vennera is forced to shoot a trespasser on his land, it looks as though his luck has run out. Chased into the hills by private detective Christopher Walken, Vennera is once more rescued in the nick of time by what appears to be a miracle. And there are more wonders to behold before fadeout time! Whimsical yes, but thanks to its hand-picked ensemble cast (including Sonia Braga, Ruben Blades, James Gammon, Daniel Stern, Freddy Fender, M. Emmett Walsh and Melanie Griffith) the film remains totally credible throughout. Adapted by John Nichols and David Ward from Nichols' own novel, Milagro Beanfield War may be the most likeable "liberal-tract" film of the 1980s. Robert Redford's appropriately Capraesque direction is matched by Dave Grusin's vibrant Oscar-winning musical score. ~ Hal Erickson, All Movie Guide

John Hughes wrote and directed this quintessential 1980s high school drama featuring the hottest young stars of the decade. Trapped in a day-long Saturday detention in a prison-like school library are Claire, the princess (Molly Ringwald); Andrew, the jock (Emilio Estevez); John, the criminal (Judd Nelson); Brian, the brain (Anthony Michael Hall); and Allison, the basket case (Ally Sheedy). These five strangers begin the day with nothing in common, each bound to his/her place in the high school caste system. Yet the students bond together when faced with the villainous principal (Paul Gleason), and they realize that they have more in common than they may think, including a contempt for adult society. "When you grow up, your heart dies," Allison proclaims in one of the film's many scenes of soul-searching, and, judging from the adults depicted in the film, the teen audience may very well agree. Released in a decade overflowing with derivative teen films, The Breakfast Club has developed an almost cult-like status. ~ Dylan Wilcox, All Movie Guide

Harry (Paul Newman), a middle-aged hardhat, has trouble communicating with his teenaged son Howard (Robby Benson). While Harry wants Howard to find a bread-and-butter job, the sensitive boy would rather pursue a writing career. Howard tries his best to please his dad, but ultimately realizes that he must march to his own beat if he's to find lasting happiness. The best scenes in this by-the-numbers domestic drama are those between Howard and his pregnant girlfriend (Ellen Barkin). Adapted from The Lost King, a novel by Don Capite, Harry and Son represents one of the rare occasions that star Paul Newman directed himself (at least officially!) ~ Hal Erickson, All Movie Guide

Sidney Lumet's The Wiz is the film version of the popular Broadway musical that retells the events of L. Frank Baum's classic novel The Wonderful Wizard of Oz through the eyes of a young African-American kindergarten teacher who's "never been below 125th Street." Leaving a large family dinner to chase her dog into a snowstorm, Dorothy (Diana Ross) is swept up by a cyclone and transplanted to the land of Oz -- which looks suspiciously like a skewed version of the run-down Manhattan of the late '70s. Landing on top of the Wicked Witch of the East, the puzzled Dorothy is greeted by munchkins who peel themselves from a graffiti mural and sing to her about the Wiz (Richard Pryor), a powerful wizard living in Emerald City who can help her get home. On her journey down the yellow brick road, she encounters a garbage-stuffed scarecrow (Michael Jackson) in a junkyard, a broken-down tin man (Nipsey Russell) caught in the decay of an old amusement park, and a cowardly lion (Ted Ross) posing as a stone statue outside a museum. The quartet tangles with a subway station that comes to life, a poppy den, and a gaggle of motorcycle henchman on their way to the Wiz -- who orders them to kill the Wicked Witch of the West (a sweatshop tyrant) before he will grant them their wishes. The Wiz has about double the large-scale production numbers of The Wizard of Oz (1939), with songs written and composed by Charlie Smalls. ~ Derek Armstrong, All Movie Guide

A rancher, a rustler, and a regulator face off in Arthur Penn's eccentric western. As a cover for their horse thievery, a gang of Montana rustlers, led by the laid-back Tom Logan (Jack Nicholson), buys a small farm adjacent to the ranch of their latest target/nemesis, Braxton (John McLiam). When the gang leaves Tom on the farm and heads to Canada for another score, Tom takes a shine both to farming and Braxton's rebellious, strong-willed daughter, Jane (Kathleen Lloyd). The slightly loco Braxton, however, hires the psychopathic regulator Lee Clayton (Marlon Brando) to root out the rustlers. With a series of unorthodox methods (and costumes), Clayton hunts down Logan and his gang one by one, even after Braxton fires him, but Logan isn't about to let Clayton (or Braxton) make him obsolete. ~ Lucia Bozzola, All Movie Guide

Private eye Harry Moseby (Gene Hackman) is dedicated to his job, but his dedication does not make him happy or powerful in his personal life, and his wife (Susan Clark) is cheating on him. Aging actress Arlene Iverson (Janet Ward) hires Harry to find her trust-funded daughter Delly (Melanie Griffith), distracting Harry from his marital problems as he tracks the lascivious runaway teen to Florida. In the Keys, Harry has an affair of his own with Paula (Jennifer Warren), and he succeeds in locating Delly, even as he learns that finding her is only the beginning of a much larger case. As the "accidental" deaths multiply, Harry discovers that everyone has his or her own motives and that he cannot do much to stem the tide of deep-seated depravity. ~ Lucia Bozzola, All Movie Guide

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon. ~ Lucia Bozzola, All Movie Guide

Recounting how the West was won through the eyes of a white man raised as a Native American, Arthur Penn's 1970 adaptation of Thomas Berger's satirical novel was a comic yet stinging allegory about the bloody results of American imperialism. As a misguided 20th-century historian listens, 121-year-old Jack Crabb (Dustin Hoffman) narrates the story of being the only white survivor of Custer's Last Stand. White orphan Crabb was adopted by the Cheyenne, renamed "Little Big Man," and raised in the ways of the "Human Beings" by paternal mentor Old Lodge Skins (Chief Dan George), accepting non-conformity and living peacefully with nature. Violently thrust into the white world, Jack meets a righteous preacher (Thayer David) and his wife (Faye Dunaway), tries to be a gunfighter under the tutelage of Wild Bill Hickock (Jeff Corey), and gets married. Returned to the Cheyenne by chance, Jack prefers life as a Human Being. The carnage wreaked by the white man in the Washita massacre and the lethal fallout from the egomania of General George A. Custer (Richard Mulligan) at Little Big Horn, however, show Crabb the horrific implications of Old Lodge Skins' sage observation, "There is an endless supply of White Men, but there has always been a limited number of Human Beings." ~ Lucia Bozzola, All Movie Guide