John Milius Movies

It's December of 1941, and the people of California are in varying states of unease, ranging from a sincere desire to defend the country to virtual blind panic in the wake of the Japanese attack on Pearl Harbor. Thus begin several story threads that comprise the "plot" of this strange period comedy, a sort of satirical disaster movie, from Steven Spielberg. The stories and story threads involve lusty young men, officers (Tim Matheson) and civilians (Bobby Di Cicco) alike, eager to bed the young ladies of their dreams; Wild Bill Kelso, a nutty fighter pilot (John Belushi) following what he thinks is a squadron of Japanese fighters along the California coast; a well-meaning but clumsy tank crew (including John Candy) led by straight-arrow, by-the-book Sgt. Tree (Dan Aykroyd), who doesn't recognize the thug (Treat Williams) in his command; and homeowner Ward Douglas (Ned Beatty), who is eager to do his part for the nation's defense and, despite the misgivings of his wife (Lorraine Gary), doesn't mind his front yard overlooking the ocean being chosen to house a 40 mm anti-aircraft gun. There is also a pair of grotesquely inept airplane spotters (Murray Hamilton, Eddie Deezen) who are doing their job from atop a ferris wheel at a beachfront amusement park; a paranoid army colonel (Warren Oates) positive that the Japanese are infiltrating from the hills; a big dance being held on behalf of servicemen, being attended by a lusty young woman of size (Wendie Jo Sperber) eager to land a man in uniform; and General Joseph "Vinegar Joe" Stillwell (Robert Stack), in charge of the defense of the West Coast, who can't seem to get anyone to listen to him when he says to keep calm. And, oh yes, there's also a real Japanese submarine that has gotten all the way to the California coast under the command of its captain (Toshiro Mifune) and a German officer observer (Christopher Lee), only to find itself without a working compass or usable maps. Its captain won't leave until the sub has attacked a militarily significant, honorable target, and the only one that anyone aboard ship knows of in California is Hollywood. By New Year's Eve, all of these characters are going to cross paths, directly or once-removed, in a comedy of errors and destruction strongly reminiscent of the finale to National Lampoon's Animal House (as well as several disaster movies from the same studio), but on a much larger and more impressive scale. ~ Bruce Eder, 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

Oscar-winning character actor Ben Johnson was never as well known as other stars, and yet for many industry insiders, he was the epitome of cowboy actors. Of Cherokee and Irish heritage, Johnson was born in Oklahoma and became a cowboy at age eleven. He grew up to become the only movie cowboy to win both an Oscar and a rodeo championship. This documentary tells the fascinating, colorful story of his life. ~ Sandra Brennan, 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

One of Terrence Malick's early screenwriting efforts, this loosely-structured road movie finds a questionably sane long-distance trucker named Cooper (Alan Arkin) winding his way through the heart of America. An employee of a questionable hauling outfit who has been assigned to drive a newly hijacked rig to an as-of-yet undisclosed-location, Cooper quickly ditches his partner and points his eighteen-wheeler westward. Picking-up a hitchhiker (Paul Benedict) for some company in the cab, the unstable trucker's journey westward grows increasingly surreal as he runs into numerous eccentric characters, portrayed in cameo roles by such noted names as Ida Lupino, George Raft, Charles Durning, Loretta Swit, Richard Kiel and future director John Milius. ~ Jason Buchanan, 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

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

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

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

"Oh my God, that's my daughter." So read the advertising copy of Hardcore. George C. Scott plays Jake Van Dorn, a man of means and conservative values who discovers that his precious daughter is appearing in X-rated films. Desperately making his way through the sub-rosa world of pornography, Van Dorn talks to pimps, prostitutes, and other such sterling individuals in hopes of locating his daughter and dragging her home. At one point, he falsely advertises himself as a porn producer in hopes that his little girl will show up for an interview. ~ Hal Erickson, Rovi

A retired soldier (Gerald McRaney) is driving his family from Texas to California. As they cross the desert, they are terrorized by a gang of heroin-dealing bikers who kidnap his teenage daughter and take her across the Mexican border. He follows them to their hideout and devises a plan to rescue his daughter. ~ Brian Gusse, Rovi

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