John Milius Movies

If John Ford is the greatest Western director, The Searchers is arguably his greatest film, at once a grand outdoor spectacle like such Ford classics as She Wore a Yellow Ribbon (1949) and Rio Grande (1950) and a film about one man's troubling moral codes, a big-screen adventure of the 1950s that anticipated the complex themes and characters that would dominate the 1970s. John Wayne plays Ethan Edwards, a former Confederate soldier who returns to his brother Aaron's frontier cabin three years after the end of the Civil War. Ethan still has his rebel uniform and weapons, a large stash of Yankee gold, and no explanations as to where he's been since Lee's surrender. A loner not comfortable in the bosom of his family, Ethan also harbors a bitter hatred of Indians (though he knows their lore and language well) and trusts no one but himself. Ethan and Martin Pawley (Jeffrey Hunter), Aaron's adopted son, join a makeshift band of Texas Rangers fending off an assault by renegade Comanches. Before they can run off the Indians, several homes are attacked, and Ethan returns to discover his brother and sister-in-law dead and their two daughters kidnapped. While they soon learn that one of the girls is dead, the other, Debbie, is still alive, and with obsessive determination, Ethan and Martin spend the next five years in a relentless search for Debbie -- and for Scar (Henry Brandon), the fearsome Comanche chief who abducted her. But while Martin wants to save his sister and bring her home, Ethan seems primarily motivated by his hatred of the Comanches; it's hard to say if he wants to rescue Debbie or murder the girl who has lived with Indians too long to be considered "white." John Wayne gives perhaps his finest performance in a role that predated screen antiheroes of the 1970s; by the film's conclusion, his single-minded obsession seems less like heroism and more like madness. Wayne bravely refuses to soft-pedal Ethan's ugly side, and the result is a remarkable portrait of a man incapable of answering to anyone but himself, who ultimately has more in common with his despised Indians than with his more "civilized" brethren. Natalie Wood is striking in her brief role as the 16-year-old Debbie, lost between two worlds, and Winton C. Hoch's Technicolor photography captures Monument Valley's savage beauty with subtle grace. The Searchers paved the way for such revisionist Westerns as The Wild Bunch (1969) and McCabe & Mrs. Miller (1971), and its influence on movies from Taxi Driver (1976) to Close Encounters of the Third Kind (1977) and Star Wars (1977) testifies to its lasting importance. ~ Mark Deming, Rovi

George Hamilton produced and stars in this appealing bio-pic about real-life stunt daredevil Evel Knievel. Knievel's famous motorcycle stunts and early life are remembered in flashback by the performer in the moments before a big jump. The cast includes familiar drive-in movie faces like Vic Tayback, Sue Lyon, Cheryl Rainbeaux Smith, and Dub Taylor, and much of it was filmed on location in Knievel's hometown of Butte, Montana. Though Hamilton is quite good in the lead, most fans prefer the real thing -- Knievel portraying himself in the later Viva Knievel! (1978). ~ Robert Firsching, Rovi

Years before Kevin Costner danced with wolves, Robert Redford headed to the mountains to escape civilization in Sydney Pollack's wilderness western. Around 1850, ex-soldier Johnson (Redford) decides that he would rather live alone as a mountain man in Colorado than deal with society's constraints. After a series of setbacks, he meets grizzled mountain veteran Bear Claws (Will Geer), who teaches him how to survive. Jeremiah strives to live as peaceably as possible in the rugged environment, trading with the native Crow tribe, adopting a boy (Josh Albee) after his family is massacred, and even marrying the daughter (Delle Bolton) of a Flathead chief in order to avoid confrontation. He settles into a mountain home with his family, but the U.S. cavalry, complete with a puritanical Reverend, interrupt the idyll to compel Jeremiah to lead them over the mountains and through a Crow burial ground to rescue white settlers. After the Crow kill his family in retaliation, Jeremiah's frenzied moment of payback precipitates a long-running vendetta, turning him into a legendary Indian killer at the expense of his original ideals, on the way to a final moment of grace. Spectacularly shot on location in Utah, the film captures both the appeal and the challenge of the landscape that Jeremiah chooses over civilization. With an unglamorous performance by Redford and a story that questioned white colonialism while mythologizing the man of nature, Jeremiah Johnson appealed to its 1972 audience and became one of the biggest hits of the year. Wavering between heroicizing Jeremiah for surviving and damning him for killing, Jeremiah Johnson took its place among the Vietnam-era cycle of critical westerns, like Arthur Penn's Little Big Man (1970) and Robert Altman's McCabe and Mrs. Miller (1971), that condemned civilization for corrupting the wilderness and preventing individuals from going pacifistically native. ~ Lucia Bozzola, Rovi

The second Dirty Harry movie, Magnum Force concerns itself with a vigilante group that has targeted notorious scofflaws for extermination. When a prominent gang boss or drug-runner is set free by the airheaded liberal courts, a covert group of "avengers" is soon on hand to blow the miscreant to bits. While detective Dirty Harry Callahan (Clint Eastwood) is no great friend of civil liberties, he is dead set against wholesale murder as a solution to legal loopholes. Discovering that all the killings have been committed by the same weapon, Callahan reaches the conclusion that his on-the-edge partner, Charlie McCoy (Mitchell Ryan), is responsible. But the answer is less transparent than that, as Harry learns almost at the cost of his own life. Co-scripted by John Milius and Michael Cimino, Magnum Force was followed by three additional Dirty Harry installments: The Enforcer (1976), Sudden Impact (1983) and The Dead Pool (1988). ~ Hal Erickson, Rovi

Melvin Purvis: G-Man was one of two TV pilot films intended to launch a series based on the life of famed FBI agent Purvis. Dale Robertson played the title role in both, emphasizing the heroics and downpedalling Purvis' shameless self-aggrandizement (he was so rabid a publicity hound that many historians have come to doubt the veracity of his accomplishments). The "public enemy" tackled by Purvis in this 90-minute film is kidnapper/bandit Machine Gun Kelly (Harris Yulin). The script accurately portrays Kelly as a cowardly dolt, completely dominated by his ambitious wife (played by Maggie Blye). First aired April 9, 1974, Melvin Purvis: G-Man was followed by The Kansas City Massacre (1975). ~ Hal Erickson, Rovi

Jan-Michael Vincent plays a self-destructive beach bum to whom surfing is a Zen experience. We first meet Vincent in the devil-may-care 1960s, in the company of his carefree buddies William Katt and Gary Busey. The boys reunite ten years later, after one has served time in Vietnam. The beach is still there, the waves still break upon the shore, and towards the end of the film, the characters become people that we truly care about. Barbara Hale, the real-life mother of costar William Katt, makes a piquant supporting appearance. Cut from 129 minutes to 104 for its pay-cable release, Big Wednesday is also known as Summer of Innocence. ~ Hal Erickson, Rovi

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola's Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz's compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz's insane dictum to "Drop the Bomb. Exterminate them all." Coppola himself was not certain either, and he tried several different endings between the film's early rough-cut screenings for the press, the Palme d'Or-winning "work-in-progress" shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era. ~ Lucia Bozzola, Rovi

Used Cars is one of Robert Zemeckis' pre-Roger Rabbit and pre-Forrest Gump efforts starring Kurt Russell is a devious car salesman who goes to work for affable but monumentally unsuccessful used car dealer Jack Warden. Warden's principal rival is his more prosperous twin brother, also played by Warden, who schemes to take over the "good" brother's lot. After a series of raunchy vignettes, the film boils down to an every-man-for-himself price war between the two Wardens, which rages on even after we're one Warden short. The supporting cast of Used Cars is populated by such reliables as David L. Lander, Michael McKean, Al Lewis, Dub Taylor, Dick Miller and Betty Thomas. ~ Hal Erickson, Rovi

Ted Kotcheff continues his First Blood fervor with Uncommon Valor. Gene Hackman stars as Cal Rhodes, a former Marine Colonel who has been getting the run-around for ten years from the government concerning the disappearance of his son and his buddies - all Marines who enlisted years prior and served in Vietnam. Rhodes' son was last seen in Laos, where he was fighting in the war and captured as a POW. When word gets back to Rhodes that the men may still be alive and held in prison camps, but the government still has the men listed as missing in action, Rhodes decides to take matters into his own hands. Contacting an old friend, oil baron MacGregor (Robert Stack), Rhodes is granted financial backing to form his own incursion force. He assembles a crack team of men, puts them through an intensive period of training. and heads back with them into the Laotian jungles to search for the MIAs. ~ Paul Brenner, Rovi

Modern-day Texas Ranger Jack Benteen (Nick Nolte) was once the best friend of local drug kingpin Cash Bailey (Powers Boothe). At present, however, the only element linking them together is Jack's lover Sarita (Maria Conchita Alonso), Cash's former mistress. When Sarita tires of Jack's Spartan lifestyle, she returns to Cash as a voluntary hostage to make certain that Jack keeps his hands off Cash's operation. The film comes to a head during a meticulously planned drug bust, in which both Jack and Cash butt heads with CIA-funded paramilitary Maj. Paul Hackett (Michael Ironside, who isn't all he seems to be). ~ Hal Erickson, 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

Walter Hill directs John Milius's script (co-written by Larry Gross) depicting a revisionist perspective on the "Geronimo Campaign" and how Geronimo, with 34 men, managed to elude 5000 U.S. cavalry men between 1885 and 1886 before his surrender at the Canyon of the Skeletons in September 1886. The film centers upon Charles Gatewood (Jason Patric), the U.S. Cavalry lieutenant who is charged with capturing the elusive Apache leader. Gatewood is torn by a grudging respect for Geronimo and his people and his duty to his country. But then all the white men in the film have a respect for Geronimo, even as they are trying to hunt him down and kill him. General Charles Crook (Gene Hackman), charged with overseeing the forced settlement of the Apaches on reservations, has nothing but admiration for Geronimo. ~ Paul Brenner, 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