Roger Deakins Movies

In 1966, Rubin "Hurricane" Carter was a top-ranked middleweight boxer whom many fight fans expected to become world champion. When three people were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and questioned by police. Although the police asserted that Carter and Artis "were never suspects," a man named Alfred Bello, himself a suspect in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of murder, and Carter was given three consecutive life sentences. Throughout the trial, Carter proclaimed his innocence, saying that his African-American race and work as a civil rights activist were the real reasons for his conviction. In 1974, Bello and Arthur Bradley, who also claimed that Carter was present at the scene of the crimes, recanted their testimony, but Carter and Artis were reconvicted. In the early 1980s, Brooklyn teenager Lesra Martin worked with a trio of Canadian activists to push the State of New Jersey to reinvestigate Carter's case; in 1985, a Federal District Court ruled that the prosecution in Carter's second trial committed "grave constitutional violations" and that his conviction was based on racism rather than facts. Carter was finally freed, and he summed up his story by saying, "Hate got me into this place, love got me out." The Hurricane is based on Carter's incredible true story and stars Denzel Washington as Carter, Vicellous Shannon as Lesra Martin, and John Hannah, Liev Schreiber and Deborah Unger as the Canadian activists. Veteran filmmaker Norman Jewison directed. ~ Mark Deming, Rovi

Edward Zwick directed this action thriller about Islamic militants unleashing terrorism in New York City. As FBI Terrorism Task Force-chief Anthony Hubbard (Denzel Washington) investigates, a false-alarm bomb threat is followed by a legit bomb, with many killed when a Brooklyn bus explodes. Agents track a suspect through Brooklyn, while Hub teams with Middle East expert and NSA operative Elise Kraft (Annette Bening). After the FBI wipes out three Arabs in a Brooklyn apartment, an explosion in a Broadway theater is followed by attacks on a school and FBI headquarters. When the President declares martial law, neo-fascist Army General William Devereaux (Bruce Willis) swings into action, deploying tanks through Brooklyn, capturing Arab-American males, and herding them into an open-air stadium detention camp. Hub's Arab-American FBI associate Frank Haddad (Tony Shalhoub) is disgusted and quits when his son becomes one of the Arab detainees. With the Army out of control, the power-crazed Devereaux devises plans for torture and murder, turning his attention to Hub and Elise. President Bill Clinton is seen denouncing terrorists in TV clips. ~ Bhob Stewart, Rovi

Filmmaking siblings Joel Coen and Ethan Coen both embraced and poked satirical fun at their Minnesotan roots with this comedy-drama-thriller that earned seven Oscar nominations, winning for Best Actress and Best Original Screenplay. Frances McDormand stars as Marge Gunderson, a pregnant police chief whose affable, folksy demeanor masks a whip-smart mind. When a pair of motorists are found slain not far from the corpse of a state trooper, Marge begins piecing together a case involving a pair of dopey would-be kidnappers, Carl (Steve Buscemi) and Gaear (Bergman stock player Peter Stormare). They've been hired by Jerry Lundegaard (William H. Macy), a car salesman under the thumb of his wealthy, overbearing boss and father-in-law, Wade (Harve Presnell). Jerry's raised some money illegally through a petty scam he's run on General Motors and he's about to get caught. When Wade sours a business deal that could save his son-in-law's hide, the desperate Jerry hires Carl and Gaear to kidnap his wife and hold her for ransom. Things go predictably wrong and a series of murders occur, with Marge, waddling along behind her enormous belly and ever-hungering for an all-you-can-eat buffet, hot on the trail of the killers. Although the credits for Fargo state that the film is loosely based on real events, the story is entirely fictional, the claim being just an ironic jibe on the part of the Coens. ~ Karl Williams, Rovi

Tim Robbins' second directorial effort (after the political satire Bob Roberts) was this drama based on a true story, which explores the issue of capital punishment. Sister Helen Prejean (Susan Sarandon) is a nun and teacher living in rural Louisiana. One day, she receives a letter from Matthew Poncelet (Sean Penn), who is scheduled to be executed soon for the rape and murder of two teenagers. After meeting Matthew, Sister Helen agrees to serve as spiritual counselor and see what she can do to stay the execution. However, Matthew's claims of innocence seem shaky at best, and it's clear he's a reprehensible, amoral racist. When it becomes obvious that Matthew's sentence will be carried out, Sister Helen offers what comfort she can to Matthew, but also tries to guide him to an open admission of the extent of his crimes and an acceptance of divine forgiveness, telling him "I want the last face you see to be the face of love." Susan Sarandon won an Oscar for her performance as Sister Prejean, and Sean Penn was similarly nominated for Best Actor as Matthew. ~ Mark Deming, Rovi

Joel Coen and Ethan Coen concocted this stylish screwball comedic amalgam of Frank Capra and Howard Hawks. Tim Robbins stars as Norville Barnes, a dull-wit from Muncie, Indiana who wrangles a job with the big Hudsucker Industries. He has a singular idea for a new children's toy that he wants to present to corporate executive Sidney J. Mussberger (Paul Newman). As he makes his way up to Mussberger's office, the company president Waring Hudsucker (Charles Durning) is on his way down -- through the window of the forty-fourth floor boardroom! Hudsucker's death sets off a panic that Mussberger sees as an opportunity for taking over the company -- by installing a total incompetent in Hudsucker's place and devaluing the stock. When Barnes stumbles into Mussberger's office, Mussberger sees his pigeon and appoints Barnes as the new company president. The only problem is that the new product Barnes proposes for the company, the Hula Hoop, turns out to be a tremendous success, and Mussberger has difficulty manipulating his new corporate president. ~ Paul Brenner, Rovi

The 1993 remake of The Secret Garden is a rendition of the classic Frances Hodgon Burnett novel about a young girl (Kate Maberly) who discovers an abandoned garden on her uncle's large Victorian country estate, as well as an invalid cousin she didn't realize she had. With the help of a local boy, the girl sets out to restore the garden and, once it is blooming again, she discovers it has magical powers. ~ Stephen Thomas Erlewine, Rovi

Actor Robert De Niro started a production company to make films just like this one: stories which were unpopular with the establishment and which are unlikely to make a big splash at the box-office. Even so, this is a first-class production, and the filmmakers were the first to receive permission to film on the Pine Ridge (Sioux) Reservation in South Dakota, likely due to director Michael Apted's having previously made an accurate and sensitive documentary about Indian political prisoner Leonard Peltier's case, Incident at Oglala. The film did exactly as well as expected at the box-office but has since assumed greater importance as one of the tiny number of "mainstream" movies which faithfully and respectfully illuminate Native American issues. In the story, loosely based on the earlier documentary, Ray Levoi (Val Kilmer) is an ambitious up-and-coming FBI agent in the 1970s with great career prospects. The one thing he will not tolerate is any reference to his half-Indian heritage. As far as he is concerned, his loyalties and culture identify him with the government and his white mother. He is extremely touchy about anything to do with his father, who was an alcoholic full-blooded Sioux. However, the FBI wants to take advantage of his half-Indian blood to mend fences in a politically sensitive murder investigation, and it sends him exactly where he doesn't want to go. Further, he is widely advertised as being Indian, though he knows virtually nothing about his heritage and has renounced it to the best of his ability. Once on the reservation, he becomes deeply involved in a truly messy state of affairs and is drawn into situations where he is forced to confront his background, native spirituality, and the duplicity of the government and its allies within the tribe. Despite his consistent prickliness about his heritage, his heart is in the right place, and the reservation's sheriff (Graham Greene) and a wise spiritual elder (Chief Ted Thin Elk) patiently lead their unwilling FBI pupil on a soul-wrenching wild goose chase which paradoxically takes him straight to the heart of the matter. ~ Clarke Fountain, Rovi

The title character, played by John Turturro, is a Broadway playwright, based on Clifford Odets, lured to Hollywood with the promise of untold riches by a boorish studio chieftain (played by Michael Lerner as a combination of Louis B. Mayer and Harry Cohn). Despising the film capital and everything it stands for, Barton Fink comes down with an acute case of writer's block. He is looked after by a secretary (Judy Davis) who has been acting as a ghost writer for an alcoholic screenwriter (John Mahoney, playing a character based on William Faulkner). Also keeping tabs on Fink is a garrulous traveling salesman (John Goodman), the most likeable, stable character in the picture. And then comes the plot twist to end all plot twists, plunging Barton Fink into a surreal nightmare that would make Hieronymus Bosch look like a house painter. Once more, Ethan and Joel Coen serve up a smorgasbord of quirkiness and kinkiness, where nothing is what it seems and nothing turns out as planned. ~ Hal Erickson, Rovi

Director Bob Rafelson fulfilled a lifelong dream when he finally received backing to complete Mountains of the Moon. The film recreates the exploratory adventures of 19th century visionaries Sir Richard Burton (Patrick Bergin) and John Henning Speke (Iain Glen). The heart of the film is the effort by Burton and Speke to discover the true source of the Nile river. This occurs well into the film, after several torturous scenes involving the injuries sustained by the protagonists during other expeditions and their growing friendship (which, the film intimates, goes far beyond friendship). Rafaelson's fascination with this story, and his insistence upon painstaking historical accuracy, unfortunately compromises his ability to make an interesting film. There are so many starts and stops during the first half that we sincerely hope Burton and Speke will chuck it all and set up a pub in Bristol or something. What saves Mountains of the Moon is the rapport between its stars and the brilliant, epic-like cinematography of Roger Deakins. ~ Hal Erickson, Rovi

The year is 1908; after centuries of unchecked power, the Ottoman empire is rapidly crumbling. As a result, Turkey's secret agents--those that haven't already been eliminated by downsizing or death--operate in a vacuum, their superiors knowing little and caring less about their activities. One such spy is Ben Kingsley, a minor bureaucrat of no ambition. When ordered to help disreputable English citizens Charles Dance and Helen Mirren in the theft of a precious Greek artifact, Kingsley goes along without question. He is even prepared to follow orders and double-cross Dance the moment the robbery is pulled off. But as the film progresses, Kingsley becomes less and less of a by-the-book government functionary and more and more of an enigma--to Dance, to Mirren, to his country, to himself. More than your usual "caper" film, Pascali's Island has more layers than an artichoke. ~ Hal Erickson, Rovi

Stormy Monday is a four-person character study in which style is all that matters. This tautly constructed, deftly executed crime thriller is set in economically depressed Newcastle England. Sting plays Finney, a relatively honest Newcastle jazz-club owner who crosses the path of crass American gangster Cosmo (Tommy Lee Jones). Flaunting his wealth at every opportunity, Cosmo wants to involve Finney in a land development deal -- if only he'll give up his club. Both men are enamored of Kate (Melanie Griffith), who becomes a pawn in their ongoing one-upsmanship. Kate and her lover (Sean Bean) try to prevent Finney from corrupting his own sense of values by wallowing in the gutter with Cosmo. Stormy Monday, the first feature-length directorial effort of former jazz musician Mike Figgis, who also wrote the script and composed the score, tells its story using subtle shadings of character and a vivid evocation of its Newcastle setting rather than through violent action. Figgis's moody direction of his excellent screenplay is quietly effective and brimming with visual nuance and irony -- particularly in its perceptive take on love, money, jazz, and economic necessity. ~ Hal Erickson, Rovi

In the vernacular of Kenyan whites of the 1950s, a "kitchen toto" was a native black servant. One such "toto" is 12-year-old Mwangi (Edwin Mahinda). The son of a black clergyman who has been slain by Mau Mau for his moderate beliefs, Mwangi is taken into the household of British police-chief Bob Peck. Torn between two cultures, Mwangi finds himself in a position to rescue his white protectors from insurgent Mau Maus, who are pressing for Kenyan independence-just as the boy's father had. The "no easy answers" climax is one that can't be revealed here. Kitchen Toto was the first directorial effort of Harry Hook, a Kenyan native and British National Film and Television School grad who was just about Mwangi's age when the events depicted in this film occurred. ~ Hal Erickson, Rovi

Punk rock's first great embodiment of the motto "live fast and die young," Sid Vicious joined The Sex Pistols when they were already established as the most controversial rock band in British history; and it soon became apparent that he couldn't play his instrument, had a magnetic attraction to chaos, and possessed a dangerous thirst for booze, drugs, and violence. Sid & Nancy opens shortly after Sid (Gary Oldman) joined the band, when he meets an obnoxious American punk groupie named Nancy Spungen (Chloe Webb). Nancy claims that she can get drugs, and Sid naively gives her his money. Nancy doesn't show up with the goods, but when Sid runs into her a few days later, she has a tall tale about getting ripped off - and Sid sympathizes with her. Before long, Sid and Nancy have fallen in love, and while they argue with uncommon vehemence, they also depend completely on each other. When The Sex Pistols break up, Sid has few prospects and an increasingly voracious appetite for heroin, and Nancy's attempts to "manage" his career only hasten his downhill slide. Former Clash leader Joe Strummer wrote the film's theme song, "Love Kills," and The Pogues, The Circle Jerks, and Pray for Rain contributed to the soundtrack. ~ Mark Deming, Rovi