Laszlo Kovacs Movies

Pan's Labyrinth director Guillermo del Toro produces director Juan Antonio Bayona's gothic frightener about a long-abandoned orphanage with a particularly troubling past. As a child, young orphan Laura spent her formative years being cared for by the staff of a large orphanage located by the Spanish seaside. Those were some of the happiest years of Laura's life, and now, 30 years later, the former charge returns to the dilapidated institution with her husband, Carlos, and their seven-year-old son, Simon, to reopen the orphanage as a facility for disabled children. However, something ominous haunts the darkened hallways of this silent, stately manor. When Simon's behavior begins to grow increasingly bizarre and malicious, Laura and Carlos start to suspect that the mysterious surroundings have awoken something ominous in the young boy's imagination. It's not long before Laura, too, is drawn into this disturbing web and the repressed memories of the past come flooding back in a terrifying torrent of tension and deeply disturbing revelations. With opening day drawing near and their situation growing increasingly grim by the hour, Carlos attempts to write off Simon's bizarre behavior as a desperate bid to get more attention from his distracted parents. Laura isn't so easily convinced of this theory, though, and soon embarks on a desperate quest to unearth the terrible secret that lurks in the old house, waiting for just the right moment to inflict devastating damage on both her and her family. ~ Jason Buchanan, All Movie Guide

Acclaimed director Peter Bogdanovich updates his 1971 documentary Directed by John Ford for this film of the same name, produced for the Turner Classic Movies cable network. Using old interviews with the likes of John Wayne and Henry Fonda along with new ones with modern film giants like Steven Spielberg and Clint Eastwood, Bogdanovich crafts an informative tribute to one of Hollywood's most beloved and influential directors. ~ Matthew Tobey, 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 romantic comedy, a man loses the love of his life, only to find her heart beating in the body of someone new. Architect Bob Rueland (David Duchovny) is happily married until his wife Elizabeth (Joely Richardson), a zoologist, dies in an auto accident. A year later, Bob is still dealing with his loss when he meets Grace Briggs (Minnie Driver), a shy woman who waits tables in an Irish/Italian restaurant run by her grandfather Marty (Carroll O'Connor). Bob falls for Grace at first sight, and she's attracted to him as well, but what he doesn't know is that a year ago Grace was the recipient of a heart transplant -- and that Elizabeth was the donor. Return to Me was directed and co-written by actress Bonnie Hunt, who also appears in a supporting role as Grace's best friend Megan; the cast also includes Robert Loggia, James Belushi, and David Alan Grier. ~ Mark Deming, All Movie Guide

This moving, finely-wrought portrayal of legendary cinematographer Sven Nykvist was directed by his son Carl-Gustav Nykvist -- a noted filmmaker himself. Spanning from long forgotten kiddie flick in 1945 to Woody Allen's Celebrity (1997), Nykvist's career came to an abrupt end when he was diagnosed with a rare disorder that affects his speech. Though the film explores Nykvist's upbringing and turbulent private life (an ugly divorce, the suicide of one of his sons, an affair with Mia Farrow), the emotional heart of the film is his celebrated collaboration with auteur Ingmar Bergman, with whom Nykvist made some of his most enduring work, including Winter Light (1962) and Scenes from a Marriage (1973). As Bergman recalls his own career, he notes, "I don't miss making films, but I miss the collaboration with Sven." ~ Jonathan Crow, All Movie Guide

A woman realizes that friends can be lovers, but now has to convince the friend in question in this romantic comedy. Michael O'Neal (Dermot Mulroney) and Julianne Potter (Julia Roberts) were romantically involved in college, and after breaking up, they have managed to remain close friends. For years, Julianne and Michael have had a pledge that if both were single when they turned 28, they would get married. Shortly before her 28th birthday, Julianne is lamenting the sad state of her love life when she gets a call from Michael, who announces that he has important news. Julianne is convinced that Michael is going to ask her to marry him, and she is crestfallen when he announces that he's engaged to Kimmy Wallace (Cameron Diaz). Kimmy seems like the perfect woman for Michael; she's sweet, pretty, bright, and adores Michael, and her wealthy family is just as fond of him as she is. But now that Julianne has realized how much she loves Michael, she's not about to give him up without a fight -- and isn't afraid to fight dirty. Julianne's uneasy ally in the battle for Michael's affections is her friend and editor George Downes (Rupert Everett), a cheerfully out-of-the-closet homosexual who is not prepared when Julianne asks him to pose as her boyfriend. ~ Mark Deming, All Movie Guide

A serial killer stalks the streets of San Francisco; unlike his many predecessors does not choose a distinctive, identifying pattern. No, this killer prides himself on his unoriginality: he is a copycat, recreating the violent murders of some of the country's most notorious serial killers, his heroes. On the case, is criminal psychologist Helen Hudson who is the reigning expert on serial killers; she has also become agoraphobic after having too close of a brush with killer, Daryll Lee Cullum. Though he has finally been locked up, she is unable to function outside her apartment. It is homicide detective M.J. Monahan and her partner Ruben who involve Hudson after they begin suspecting that the recent rash of bizarre murders they investigate is the work of a new mass murderer. Using her career and her vast knowledge, she figures out the killer's game. She knows he is well-versed in history and that the killings are tributes to the old masters. Unfortunately, she cannot predict his next style of killing, who he will kill, or when. ~ Sandra Brennan, All Movie Guide

Karate Kid, Part 4 is better known by its release title, The Next Karate Kid. The sole holdover from the first three KK flicks is Noriyuki "Pat" Morita, once more cast as janitor/martial arts maven Miyagi Yakuga. This time, his pupil is orphaned 17-year-old Hilary Swank, the granddaughter of Miyagi's war buddy. Relentlessly bullied by her male classmates and feeling responsible for her parents' fatal accident, Swank is taught self-worth through the tough-but-gentle guidance of Miyagi. While The Next Karate Kid may come off as too "PC" for the tastes of some fans, it is heaps better than the appalling Karate Kid, Part 3. ~ Hal Erickson, All Movie Guide

The film equivalent of a stroll through the Louvre, the documentary Visions of Light: The Art of Cinematography collects interviews with many of modern-day Hollywood's finest directors of photography and is illustrated by examples of their best work as well as scenes from the pictures which most influenced them. A who's-who of cinematographers -- Nestor Almendros, John Bailey, Conrad Hall, Laszlo Kovacs, Sven Nykvist, Vittorio Storaro, Haskell Wexler, Gordon Willis, Vilmos Zsigmond and others -- discuss their craft with rare perception and insight, paying homage to pioneers like Gregg Toland, Billy Bitzer and John Alton and explaining the origins behind many of the most indelible images in movie history; from Citizen Kane to The Godfather and from Sunrise to Night of the Hunter, many of the truly unforgettable moments in American film history are here in all their brilliance and glory. ~ Jason Ankeny, All Movie Guide

The owner of an aircraft salvage company (Viggo Mortensen) is reported killed in a crash. However, his wife (Andie MacDowell) knows better, and she decides to find him and his secret bank accounts. She travels around the world, and winding up in Cairo, she meets Liam Neeson, who helps her uncover her husband's smuggling scheme. ~ All Movie Guide

Wolfgang Petersen directed this intricate suspense thriller, based on the novel by Richard Neely and starring Tom Berenger as Tom Merrick, who begins to suspect the auto accident that caused his memory loss may not have been accidental. The film begins with a car crash over a seaside cliff in San Francisco. Judith Merrick (Greta Scacchi) is thrown clear of the crash and escapes without injury. Her husband, Tom, on the other hand, is trapped inside and when he is finally rescued, he is disfigured and in a coma. Judith helps him through his ensuing recovery and plastic surgery and the couple returns to their home in San Francisco. Tom, now suffering from selective amnesia, meets his old friends Jeb (Corbin Bernsen) and Jenny Scott (Joanne Whalley-Kilmer). After meeting them, he gathers hints that before the accident, he wasn't well liked by many people. The next day, when he returns to work, he begins to pick up more clues on his past life -- clues that indicate his marriage wasn't as idyllic as he presumed. To make matter worse, he keeps having flashbacks of shattered glass, ocean waves, and a gun. To help him solve the mystery of his past, Dan hires retired private eye Gus Klein (Bob Hoskins), who works with Dan to unravel his past. ~ Paul Brenner, All Movie Guide

Jeff Grant (River Phoenix) is a San Diego teen who discovers his father Richard (Richard Jenkins) and mother Elizabeth Grant) are KGB agents. When he applies to the Air Force Academy, a routine FBI check leads to the shocking news. Soon the suburb of Fountain Grove becomes the focus of international agents and espionage. FBI agent Roy Parmenter (Sidney Poitier) helps Jeff absorb the shock and he battles KGB agent Konstantin Karpov (Richard Bradford) in a race to capture the Soviet agents. The excellent performances from Poitier and Phoenix are the highlight of this feature. ~ Dan Pavlides, All Movie Guide

This is the true story of Rocky Dennis (Eric Stoltz), a personable young man suffering from "lionitis," a fatal disease which causes hideous facial disfigurement. The son of freewheeling biker Rusty Dennis (Cher), Rocky is accepted without question by his mom's boyfriends and cycle buddies, but treated with pity, condescension, and disgust by much of the outside world. The local high school principal tries to get Rocky classified as brain-damaged so he won't have to enroll the boy in his school, but Rusty fights for her son's rights with the ferocity of a mother lioness. Rocky makes friends easily both at school and at summer camp. He also falls in love with Diana (Laura Dern), a blind girl who cannot see his deformed countenance and is entranced by the boy's kindness and compassion. Now that he's got his own life in order, Rocky sets about to wean his chronically depressed mother from her drug habit. Mask is the sort of story that might have ending up wallowing in its own pathos had the acting, direction and scriptwriting (by Anna Hamilton Phelan) been anything less than very good. The film proved a much-needed financial success for director Peter Bogdanovich, though unfortunately it didn't come soon enough to stave off his declaring personal bankruptcy. ~ Hal Erickson, All Movie Guide