Stanley Jaffe 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

Kim Basinger stars in this film based on the life and work of Kuki Gallmann. As a child, Kuki visited Africa with her family and became fascinated with the beauty of its land and wildlife. Years later, at the age of 25, Kuki returned to Africa with her husband, Paolo (Vincent Perez), and their young son, Emanuele (Liam Aiken). Kuki and Paolo built a ranch and developed a passionate interest in protecting the endangered wildlife of the region, such as elephants and rhinos. However, while Africa was a place of beauty and wonder for Kuki, it was also full of danger and tragedy, and when Paolo is unexpectedly killed, Kuki is left alone to fend for Emanuele and her unborn child in this spectacular but unforgiving landscape. I Dreamed of Africa was directed by Academy Award-winner Hugh Hudson and also features Robert Loggia and Eva Marie Saint. ~ Mark Deming, Rovi

An assemblage of young Hollywood actors poised for stardom marked this tale of anti-Semitism at a 1950s prep school. Brendan Fraser stars as David Greene, a working-class Jewish quarterback from Scranton, Pennsylvania, who is offered a senior year scholarship to a prestigious New England academy. It's David's ticket to an Ivy League education and a way out of his Rust Belt hometown, but there's one condition: the school's elders ask him to be discreet about his religion. At first willing to do so, David struggles with his silence about his faith as his popularity grows. David strikes up a friendship with his roommate Chris Reece (Chris O'Donnell) and a possible romance with Sally Wheeler (Amy Locane), a student at a nearby girls' school. When jealous classmate Charlie Dillon (Matt Damon) learns David's secret at an alumni party, he exposes the school's new gridiron hero, and David faces the full force of religious intolerance from the prejudiced WASP institution. Also featuring early performances from Ben Affleck, Anthony Rapp, and Cole Hauser, School Ties was loosely based on the real-life experiences of producer Dick Wolf, creator of TV's popular series Law & Order. ~ Karl Williams, Rovi

Based on a real-life 1983 incident, The Accused tells the story of Sarah Tobias (Jodie Foster), a working-class party girl who likes to live it up with her friends and flirt hard with the guys. After a fight with her boyfriend, she heads to a local bar to cool down -- and after a few drinks, plus some dancing and flirting, she finds herself thrown on top of a pinball machine and gang-raped by a bunch of locals, while others watch and cheer the proceedings. District attorney Kathryn Murphy (Kelly McGillis) takes Sarah's case but quickly negotiates a plea bargain in which the attackers' charges are reduced to reckless endangerment. Her reason: defense attorneys could use Sarah's not-so-pretty past to paint her as "asking for it," getting their clients off completely. But a stunned Sarah accuses Murphy of selling her out, and when the lawyer sees how the incident continues to destroy Sarah's life, she decides she must seek true justice. This time, she goes after the crowd of onlookers for "criminal solicitation" -- those who were egging the rapists on. Foster won the Best Actress Oscar for her performance. ~ Don Kaye, Rovi

A teenager and his kid brother spar with their mother's shady new boyfriend in this dramatic thriller from veteran British director Michael Apted. When her ex-husband remarries, Wendy (Teri Garr) feels despondent -- until she starts dating handsome, unctuous Sam (Peter Weller), an underemployed salesman with no shortage of big ideas. Excited to finally feel good about herself again, Wendy invites Sam to move in and offers to invest in his get-rich-quick schemes. None of this sits well with her sons, Jake (Christopher Collet) and Brian (Corey Haim), who remain unimpressed with Sam even after he convinces Wendy to buy Jake a motorbike. They're even less jazzed when Sam stops currying favor and turns disciplinarian even while pulling Wendy into his hard-partying lifestyle. Within a few months, Brian's on the verge of expulsion for picking fights at school, and even honor-role student Jake is mouthing off to his teachers. As for Wendy, she's too busy taking beatings and doing cocaine to notice that her family has fallen apart. It isn't until Jake gets wise to the industrial quantities of white powder squirreled away under the floorboards that he comes up with a plan to get Sam out of their lives forever. Although onetime Tiger Beat heartthrob Christopher Collet plays Firstborn's title role, the films' supporting cast is littered with actors whose stars would far eclipse his (Sarah Jessica Parker, Robert Downey Jr.) -- though in some cases only for a little while (Corey Haim). ~ Brian J. Dillard, Rovi

Young divorced mother Kate Nelligan refuses to go into a panic when her six-year-old son disappears. She manages to maintain an even emotional keel even when detective Judd Hirsch unearths several clues which point to sexual molestation. After several false leads, the truth is revealed. We won't divulge the ending, but we will note that we found it pretty hard to swallow-especially when compared to the actual case upon which Beth Gutcheson's novel and screenplay were based. Despite its cop-out denouement, Without a Trace deserves to take its place among such superior missing-children dramas as the made-for-TV Adam and Just Another Missing Kid. ~ Hal Erickson, Rovi

Robert Benton's Oscar-winning adaptation of Avery Corman's bestseller takes on contemporary problems of divorce and shifting gender roles, as a jilted husband learns how to be a nurturing father. Manhattan housewife Joanna Kramer (Meryl Streep) walks out on her workaholic ad man husband Ted (Dustin Hoffman), leaving their young son Billy (Justin Henry) in Ted's less than capable hands. Through trial and error, Ted learns how to take care of Billy, devoting more energy to his family than to his work, and finally losing his high-powered job because of his new priorities. When Joanna returns with her own lucrative job and the intent to take custody of Billy, Ted finds employment that won't interfere with his paternal duties. Even though he proves that he can do it all, Joanna still wins in court. Joanna, however, rethinks her desires when she finally grasps how close father and son have become. Addressing the male side of the self-actualization question, previously explored from the female perspective in such 1970s movies as An Unmarried Woman (1978), Alice Doesn't Live Here Anymore (1974), and The Turning Point (1977), Kramer focuses on Ted's evolution from absent parent to ideal father, as he learns to balance domestic and professional lives in the shifting late-1970s social landscape. Joanna's attempt to achieve the same, however, gets buried; only Streep's sensitive performance prevents Joanna from seeming an unsympathetic harridan. Critics praised the film's realistic depiction of Ted's travails, as well as the three lead actors' work; and audiences, perhaps facing the same questions of divorce and self-realization, turned it into a box-office smash. It went on to win five Oscars, including Best Picture, Best Actor, and Best Supporting Actress. ~ Lucia Bozzola, Rovi

Man on a Swing, purportedly based on a true case, is a puzzling crime thriller concerning a clairvoyant who helps find a murderer. After a murder is committed, supposed clairvoyant Franklin Wills goes to police Chief Lee Tucker (Cliff Robertson) and gives him details of the crime that he has seen in visions. The details are startlingly correct and could only have been known to the killer. Tucker, not convinced that Wills is indeed clairvoyant, begins to suspect him of the murder. Man on a Swing, directed by Frank Perry, over-complicates its central theme, distracting the viewer from the film's strong central theme, the ambiguity of Wills. Joel Grey gives an outstanding, scene-stealing performance in that role, giving Wills both menace and a surprising vulnerability. Cliff Robertson is far-less successful in his portrayal of the no-nonsense police chief. The film's ambiguous ending should increase the suspense of the film but instead further confuses the viewer. However, because of the superb performance of Grey, Man on a Swing is worth a view. ~ Linda Rasmussen, Rovi

When two teenage girls fantasize about their sexual yearnings, one is stalked by a psychopathic murderer. Wynne (Jenny Agutter) is adopted by a family and soon has a massive crush on her stepbrother George (Bryan Marshall). Her friend Corrine (Clare Sutcliffe) is Wynne's virginal friend who alludes to being sexually experienced. The two go into the woods where Corrine is raped and killed by an unknown assailant who has terrorized the countryside with his brutal carnage. When George is accused of the crime, Wynne must prove he is innocent in this thrilling slasher feature. ~ Dan Pavlides, Rovi