John Milius Movies

A group of young U.S. patriots wage guerrilla warfare against the invading military that's taken over their small town in this remake of the 1984 Cold War classic starring Patrick Swayze. Their friends and neighbors taken as prisoners of war, the students arm themselves, flee into the nearby woods to organize a counterattack, and strike back at the enemy using home-field advantage. Chris Hemsworth, Josh Hutcherson, Adrianne Palicki, and Jeffrey Dean Morgan star. ~ Jason Buchanan, Rovi

Mark Antony (James Purefoy) is running things in Rome while Caesar (Ciarán Hinds) chases down Pompey (Kenneth Cranham) and his allies in Greece. But soon, word reaches Antony that the battle has turned against Caesar, who orders Antony and whatever troops he can muster to join him in Greece in what seems a hopeless cause. Pompey sends a messenger to Antony (living in Pompey's house) to let him know that Pompey will reward him if he sits out the battle, while Atia (Polly Walker) tries to convince Antony to marry her and seize power in Rome. Antony bides his time reaching a decision. Meanwhile, Vorenus (Kevin McKidd) is having problems at home. Lyde (Esther Hall), Niobe's (Indira Varma) sister, is worried over her missing husband, and has moved in with the couple. Niobe seems more concerned about her well-being than the state of her marriage. After listening to the frustrated, lovelorn, drunken Vorenus complaining through the night, Pullo (Ray Stevenson) tells Lyde that he's heard that her husband was murdered, and pointedly tells her, in front of Niobe, to get on with her life. Pullo, assigned with schooling Octavian (Max Pirkis) in the "manly arts," takes the young man to an upscale brothel. Atia, concerned that she'll be on the losing side of the battles in Greece, gets Ocatvian out of town, and sends Octavia (Kerry Condon) to Servilia (Lindsay Duncan) with some "gifts" as a gesture of friendship. Servilia sees through the ploy, but treats Octavia kindly, telling the girl she's blameless for what her mother has done. ~ Josh Ralske, Rovi

Attmpeting to shatter the image of Hollywood as a liberal haven, filmmaker Jesse Moss profiles a number of Red-Staters who call La-La Land home in this 2004 Documentary. Among the right-leaning interviewees are comedian Drew Carey, gameshow hosts Pat Sajak and Ben Stein, sitcom star Patricia Heaton, and controversial actor/director Vincent Gallo. ~ Matthew Tobey, Rovi

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

Francis Coppola had more than his share of production difficulties while shooting his epic-scale Vietnam War drama Apocalypse Now, including disastrous weather conditions, problems with his leading men (Harvey Keitel was fired after less than two weeks on the project and was replaced by Martin Sheen, who suffered a heart attack midway through production), and a schedule and budget that quickly spiraled out of control (originally budgeted at $10 million, the film's final cost was over $30 million). But Coppola's troubles didn't end when he got his footage into the editing room, and he tinkered with a number of different structures and endings before settling on the film's 153-minute final cut in time for its initial theatrical release in 1979. Twenty-two years later, Francis Coppola returned to the material, and created Apocalypse Now Redux, an expanded and re-edited version of the film that adds 53 minutes of footage excised from the film's original release. In addition to adding a number of smaller moments that even out the film's rhythms, Apocalypse Now Redux restores two much-discussed sequences that Coppola chose not to include in his original edition of the film -- an encounter in the jungle between Willard (Martin Sheen), his crewmates Chief (Albert Hall), Clean (Larry Fishburne), Chef (Frederic Forrest), and Lance (Sam Bottoms) and a trio of stranded Playboy models on a U.S.O. tour, as well as a stopover at a plantation operated by French colonists De Marais (Christian Marquand) and Roxanne (Aurore Clement). Apocalypse Now Redux received a limited theatrical release in August of 2001 after a well-received screening at the Cannes Film Festival -- the same month that the film finally reached theaters in 1979, after a rough cut received a Golden Palm award at the Cannes Festival. ~ Mark Deming, Rovi

The real-life story of Teddy Roosevelt's role in the Spanish-American war is re-told in this made-for-television movie. Tom Berenger stars as Roosevelt, who in 1898 formed his own volunteer calvary to go into Cuba and fight the expansion of Spanish rule. Thousands of men from all walks of life volunteered, but Roosevelt honed the team down to over 500 fighting men. When they finally arrived in Cuba, they faced a well-equipped Spanish army and squared off in the famous Battle of San Juan Hill. Berenger is strong as the charismatic leader, and the supporting cast shines with familiar names. The film clocks in at four hours and was originally shown in two parts. ~ Bernadette McCallion, Rovi

Everyone has to start somewhere, even if they are Martin Scorsese or John Carpenter. This documentary takes a look at their beginning works and film school clips along with those of Richard Donner Lethal Weapon 4, Ron Howard Cocoon, John Milius, director and writer, and Susan Seidelman Desperately Seeking Susan. Also includes clips from their most popular films and interviews featuring the directors talk about opportunities and frustrations and the industry in general. ~ Leslie Birdwell, Rovi

This is the third film based on Tom Clancy's high-tech espionage potboilers starring CIA deputy director Jack Ryan. Harrison Ford, returning to the Ryan role after his first go-round in 1992's Patriot Games, is assigned to a delicate anti-drug investigation after a close friend of the President (a Reaganesque Donald Moffat) is murdered by a Colombian drug cartel. When Ryan discovers that the President's wealthy friend was in league with the cartel, the President's devious national security adviser (Harris Yulin) and an ambitious CIA deputy director (Henry Czerny) send a secret paramilitary force into Colombia to wipe out the drug lords. The force is captured and then abandoned by the President's lackeys. It falls to Ryan to enter Colombia and rescue them, aided only by a renegade operative named Clark (Willem Dafoe), with both his life and career on the line. ~ Don Kaye, Rovi

Two pilots go against the rule book in a bid to win the war in Viet Nam in this speculative military drama. Lieutenant Jake Grafton (Brad Johnson) is a U.S. Navy pilot stationed aboard an aircraft carrier after the death of his one-time flying partner Morgan McPherson (Christopher Rich), who perished during a recent, ill-advised mission. Lt. Grafton, who has become cynical about the current state of military affairs, is convinced that if the war were left to the soldiers rather than the politicians overseeing the Pentagon, United States victory would be swift and assured. Grafton shares this opinion with Virgil Cole (Willem Dafoe), a supremely confident new pilot under his command, and together they commandeer an A-6 Bomber, known as The Intruder, for an unauthorized bombing raid against Hanoi. The city had been declared off-limits because it was believed that it would have a negative impact on the Paris peace talks, so the raid lands Grafton and Cole in hot water. However, when the talks break down, President Richard Nixon authorizes the pilots to lead a new strike against Hanoi with everything they've got. Ving Rhames and David Schwimmer both appear in small roles that predated their respective rises to fame (in fact, this was Schwimmer's first movie). ~ Mark Deming, Rovi

Though officially based on Pierre Schoendoerffer's novel L'Adieu au Roi, Farewell to the King also bears echoes of Conrad's Heart of Darkness and Lord Jim--with a lot of filmmaker John Milius' own Hemingwayesque slant thrown in. During World War II, American POW Learoyd (Nick Nolte) escapes a Japanese firing squad. Hiding himself in the wilds of Borneo, Learoyd is adopted by a head-hunting tribe of Nyak Indians, who consider him "divine" because of his elaborate tattoos. Before long, Learoyd is the reigning king of the Nyaks. When British soldiers approach him to rejoin the war against the Japanese, Learoyd resists (in language so flowery that it could have been written by Sir Walter Scott). But when his own tribe is threatened by the invaders, the "king" deigns to fight for their rights. Farewell to the King is breathtakingly photographed and quite exciting at times. ~ Hal Erickson, Rovi

Set at an indeterminate point in the future, this drama with an overt anti-communist message begins as an ostensible war movie: Russian and Cuban forces have invaded the U.S. and are viciously eliminating the inhabitants of a small town, when a group of teens escapes and plans a counterattack. Jed (Patrick Swayze), Robert (C. Thomas Howell), and six of their friends watch in amazement as soldiers parachute into their town and start shooting. The teens grab a pickup truck, stock up on supplies at the local store, and head for the hills. Meanwhile, the men in the town -- after a minimal resistance -- are rounded up and held at a drive-in theater converted into a concentration camp. The sadistic Soviet military then make them watch acclaimed Russian director Sergei Eisenstein's 1938 classic Alexander Nevsky, as their punishing rehabilitation begins. Meanwhile, after minimal resistance from the adults, a Cuban, Bella (Ron O'Neal), is put in charge and is not certain how he can really defeat the teen army. The Soviets and Cubans have so far defeated the American Army, Navy, Marines, and Air Force, but these teens are really something else. After a successful ambush, the teen guerrillas gear up for future forays, when they are suddenly betrayed by one of their number and by doubts about the morality of what they are doing. Red Dawn is noteworthy for being the first movie released with the PG-13 rating, created by the MPAA after public outcry over violent content in the PG-rated Indiana Jones and the Temple of Doom and Gremlins. ~ Eleanor Mannikka, Rovi

John Milius's jingoistic direction and pulpy screenplay fit perfectly into this film version of the Robert E. Howard fantasy story of the sword and sorcery hero, Conan the Barbarian. Complementing Mulius's heavy metal production is Arnold Schwarzenegger's leaden acting, which in any other context would be deadly, but here (as in The Terminator) corresponds nicely with the whole sonorous project. The story begins when a horde of rampaging warriors massacre the parents of young Conan and enslave the young child for years on The Wheel of Pain. The Wheel of Pain seems to have as its only purpose the building up of Conan's muscles, so it's no surprise that one day Conan grows up to become Arnold Schwarzenegger. As the sole survivor of the childhood massacre, Conan is released from slavery and taught the ancient arts of fighting. Transforming himself into a killing machine, Conan travels into the wilderness to seek vengeance on Thulsa Doom (James Earl Jones), the man responsible for killing his family. In the wilderness, Conan takes up with the thieves Valeria (Sandahl Bergman) and Subota (Gerry Lopez). The trio comes upon a weird snake cult, linked to Doom, and Conan wants to trek off to Doom's mountain retreat to kill him. But he is prevented from doing that by King Osrik (Max Von Sydow), who wants the trio of warriors to help rescue his daughter who has joined Doom in the hills. ~ Paul Brenner, Rovi