Robert Shaye Movies

Disaster movie maestro Roland Emmerich and partner Michael Wimer team up to produce what many have considered an impossible adaptation -- that of Isaac Asimov's Foundation. The sprawling work of thoughtful science fiction details mathematician Hari Seldon's goal to preserve humanity after discovering that the universe will fall into a dark age through his work in psychohistory, a concept that allows one to predict the future. ~ Jeremy Wheeler, All Movie Guide

A documentary profile of filmmaker John Waters, Divine Trash focuses on the bad-taste pioneer's early years, especially his 1972 breakthrough Pink Flamingos, which turned the director of Mondo Trasho and Multiple Maniacs into the king of midnight movies thanks to word of mouth about the film's gleeful taboo-bashing -- and a distribution deal with the fledgling New Line Cinema. Interviews with filmmakers who both influenced Waters (Paul Morrissey, Herschell Gordon Lewis, Mike Kuchar, George Kuchar) and were influenced by him (Steve Buscemi, Jim Jarmusch, David O. Russell, Hal Hartley) are interspersed with copious behind-the-scenes footage from the making of Pink Flamingos, including the infamous doggy-doo scene. Through it all, the witty Waters provides commentary, recollections, and one-line quips. Pete Garey, owner of the film lab where Waters learned the technical side of moviemaking, recalls his first meetings with the youthful auteur. Mink Stole and other Dreamland Studios superstars reminisce about growing up in suburban Baltimore with Waters, who as a youngster loved car crashes, puppets, and clowns. The director's strait-laced parents reminisce about the financial support they provided for Pink Flamingos, which they have never seen. Neither has Frances Milstead, who looks back on the career of her late son, drag terrorist and Waters muse Divine. Divine and late "egg lady" Edith Massey crop up in various archival interviews and film clips. The man who played the "talking asshole" in Pink Flamingos also appears, albeit anonymously and disguised. Various film theorists and critics debate the merits and meaning of the Waters oeuvre, while Baltimore critic Don Walls and former Maryland film censor Mary Avara express their incredulity about the director's success. Divine Trash won the Filmmakers Trophy for Best Documentary at the 1998 Sundance Film Festival. Director Steve Yeager, a longtime friend of Waters, would go on to direct In Bad Taste: The John Waters Story and help Milstead write a book about her son. ~ Brian J. Dillard, All Movie Guide

The hideously charred face, blazing eyes, and razor-enhanced glove of "dream demon" Freddy Krueger (Robert Englund remain essential ingredients to Freddy's Nightmares as the weekly, hour-long horror series launches its second season. As before, Freddy's "role" in the proceedings varies from story to story: In some instances, he is the instigator of the terrible nightmares that drive the various characters to madness, murder or death; in other cases, he is merely a sidelines observer, providing grimly sarcastic narration to the terrors at hand. Also carried over from Season One is the series basic format of offering two half-hour playlets per 60 minute episode, thinly connected by having one of the "survivors" of the horrors in Part One turning up as the "victim" in Part Two. And finally, the series' producers hold firm to their policy of never killing off any character under the age of 18, thereby (hopefully) quelling complaints from various clean-up-TV pressure groups that the series is too intense for younger viewers. Though a bit light on "star" names in the cast rosters, the episodes presented in Season Two still feature a number of instantly recognizable performers. "Heartbreak Hotel" is an interesting exercise in "other-generational" casting, featuring Anne Lockhart, daughter of June Lockhart, and Stacy Keach Sr. rather than the better-known Stacy Keach Jr.. TV archivists should enjoy the teaming of David L. Lander, aka "Squiggy" on Laverne and Shirley, and Mary Crosby, otherwise known as the Girl Who Shot J.R. on Dallas, in "Lucky Stiff". Tony Dow, the former "Wally Cleaver" on Leave It to Beaver, shows up in "Prime Cut." And action-film perennial Sandahl Bergman is the focal point in "Dust to Dust". ~ Hal Erickson, All Movie Guide

In this quiet though not quite bland semi-autobiographical look at his formative years, director Charlie Loventhal has his main character Charlie (Tim Choate) enrolled in the film school of a small college. But while Charlie has aspirations of making comedies, his classmates and pretentious film professor are all into more avant-garde work. He also aspires to losing his virginity, but the woman of his dreams is not interested. He continues to strike out in spite of coaching from his lothario roommate, until a psychology professor sets him up with an older woman -- all as a part of a research project -- and Charlie, the guinea pig, finally becomes a man of experience. Meanwhile, he has made friends with Wendy (Wendy Fulton), another loner, and the two team up to try for the top prize at the school's annual film festival. ~ Eleanor Mannikka, All Movie Guide

Rumored and anticipated for years, the two biggest icons of the slasher genre finally meet in Freddy Vs. Jason, the eighth entry in the Nightmare on Elm Street saga and the 11th film in the Friday the 13th series, though with Jason X taking place in the future, it should be noted that the events of this film take place after the ninth film Jason Goes to Hell. And it is hell where Freddy Kreuger (Robert Englund) and Jason Voorhees (Ken Kirzinger, donning the hockey mask for the first time in a controversial snub against series veteran Kane Hodder) finally become acquainted. Banished there for eternity, Freddy devises a plan to manipulate Jason into continuing his work, hacking up the teenagers of Elm Street. All goes well at first until Jason realizes he's been duped by "the dream master" and is none too pleased. Coaxed by surviving teenagers Will (Jason Ritter), Lori (Monica Keena), and Kia (Destiny's Child's Kelly Rowland), Jason and Freddy descend upon Crystal Lake for a mano a mano battle royal. Helmed by Hong Kong director Ronny Yu (Bride of Chucky, The Bride With the White Hair), Freddy Vs. Jason features the director of the first Friday film, Sean S. Cunningham serving as producer. ~ Matthew Tobey, All Movie Guide

The producers insisted that this sixth entry in the Nightmare on Elm Street series marked the last; no points for guessing that additional sequels followed. This time, homicidal wraith Freddy Krueger (Robert Englund) decides to extend his reign of terror past Elm Street. His agent-on-earth is his own long-lost daughter Maggie (Lisa Zane, sister of Phantom star Billy Zane). Securing a job as a dream therapist for troubled teens, Maggie is able to "open up" the minds of her patients so that Freddy can exercise his usual bloody prerogative. In a garish, 3-D climax, Freddy himself becomes the victim of the vengeful Maggie. Since what happens in this picture is laid out in the title, we can't possibly be accused of giving the ending away. Watch for cameos from Roseanne and her then-husband Tom Arnold, Alice Cooper, Elinor Donahue, and Johnny Depp, one of the stars of the very first Nightmare. ~ Hal Erickson, All Movie Guide

Upon stopping for gas and directions on the Texas back roads, bickering yuppies Michelle (Kate Hodge) and Ryan (William Butler) get harassed by leering service-station owner Alfredo (Tom Everett). When the helpful intercession of a hitchhiker named Tex (Viggo Mortensen) leads to violence, the couple flees the area. Eventually, an unknown truck forces them off the road and into an accident with the sports utility vehicle of Benny (Ken Foree), a well-armed survivalist. Pursued by unknown assailants, Benny and his fellow accident victims must abandon both vehicles and armaments. Eventually all three end up trapped on the boggy forest estate of a family of cannibalistic serial killers who range in age from a feral little girl (Jennifer Banko) to an aged matriarch (Miriam Byrd-Nethery). The clan also includes the title character, whose chainsaw-wielding rampages are among the few direct links between this installment and the earlier two films in this series. ~ Brian J. Dillard, All Movie Guide

This fourth trip down Freddy Lane was the most successful at the box-office, but although it has some impressive visuals, it is mostly an empty film. Credit must go to the effects team for some fine work, but otherwise, this entry from the director of Cutthroat Island (Renny Harlin) is extremely weak. Roland Kincaid falls asleep and awakens in the Springwood junkyard, where his dog -- named "Jason" in a sad foreshadowing of the film's giggly tone -- pees fire on Freddy's grave. The pyro-urinary baptism causes Krueger (Robert Englund) to reassemble from bones outward in an admittedly impressive sequence. Predictably, Freddy guts Kincaid, then appears in Joey's waterbed as a naked pinup girl (Hope-Marie Carlton) before slicing him to ribbons. And so it goes. The film has a few interesting ideas kicking around, but no real identification points. This is a video game, not a movie, and the characters seem to exist only in order to move the film from one effects sequence to another. There is a lot to be said for special effects, and the ones here are extraordinary and vivid. However, the wonderfully grim mood and subtle performances of Chuck Russell's outstanding third entry in the series are gone, abandoned by Harlin in favor of a splashy, comic book approach which would, unfortunately, dominate the series' later installments. ~ Robert Firsching, All Movie Guide

The best of the Elm Street sequels, this creepy, surreal fantasy features terrific effects, a fine young cast, and an air of grim fatalism that sets it apart from its giggly successors. Patricia Arquette stars as Kristen, whose nightmare leads to a slashed wrist which looks suspiciously like a suicide attempt. She is placed in a hospital psychiatric ward with a group of six other troubled teens who all dream about the same horribly burned man (Robert Englund) trying to kill them. Perhaps the most unusual thing about this picture, however, is the unexpected depth of sadness running through it. There are some achingly sweet moments in this otherwise frightening film which, though not disruptive, are impossible to analyze. The first and most bizarre of these is Heather Langenkamp's entrance, which inexplicably causes most viewers to get misty-eyed, and there are several similar scenes throughout the film. One answer can be found in the sensitive direction of Chuck Russell, who emphasizes the tragedy and utter hopelessness in these kids' lives and manages to wring some unexpectedly perceptive turns from his cast. This is a film in which a great deal of care was obviously lavished on individual scenes (the sets are outstanding) and performances. The results are well worth repeated viewings, and prove that sequels don't necessarily have to be inferior films. ~ Robert Firsching, All Movie Guide

This actioner is set in a remote, heavily forested area in Northern California where marijuana growers raise their illegal crops and run whole communities with their terrorist tactics and wealth. The tale centers on the efforts of a fearless New York cop to free one such community from the tyranny of the pot growers. It begins with a surveyor who is leading the town's crooked sheriff to a small marijuana field he has just discovered. The surveyor is killed before he can get there. Joshua, a small boy, sees the execution and tries to get back in time to tell his parents. Unfortunately, the killers murder his family and throw him off a cliff. The boy's aunt, worried at not hearing from her family, gets suspicious and asks an old flame, NY cop Joe Dillon, to investigate. The town sheriff is not pleased by his intrusion and warns him to stay out of it. Dillon disobeys, and that is where all the action comes in. ~ Sandra Brennan, All Movie Guide

A decade of wisecracking sequels have not diminished the power of this striking horror film from the director of Scream. Teenagers in a small town are dropping like flies, apparently in the grip of mass hysteria causing their suicides. A cop's daughter (Heather Langenkamp) traces the cause to child molester Fred Krueger (Robert Englund), who was burned alive by angry parents many years before. Krueger has now come back in the dreams of his killers' children, claiming their lives as his revenge. The teenaged leads are sympathetic and intelligent, unlike the dumb victims presented in most films of the period, and they are ably backed up by veterans like John Saxon and Ronee Blakley. Director Wes Craven creates moments of real dread by examining the line between nightmares and reality, as well as the "sins of the parents" theme, and although the film is quite gory, it never resorts to cheap bloodletting for its effect. A unique and disturbing experience, this film is highly recommended for horror buffs. ~ Robert Firsching, All Movie Guide

The Lord of the Rings: The Return of the King brings Peter Jackson's mammoth adaptation of J.R.R. Tolkien's classic to a close in suitably epic fashion. Instead of starting just where the previous film left off, however, it goes far back in time to the moment the tormented creature Gollum first came to possess the One Ring. In this flashback, actor Andy Serkis (who voiced Gollum and performed his movements onset prior to the final CGI effects) finally gets to appear onscreen, portraying Gollum's former self, Sméagol. This disturbing scene serves as a potent reminder that the Ring seeks to corrupt even the well-intentioned Frodo (Elijah Wood), who is increasingly struggling with the dark power of the Ring himself. Thus, the film returns to the present, following Frodo, Sam (Sean Astin), and Gollum as they journey ever closer to the foreboding land of Mordor. They pass by the terrifying dark city of Minas Morgul, watching as the dreadful army of the Witch King sets out for the human strongholds in Gondor, and move on to the rocky stairs to Cirith Ungol, where an even darker enemy lies in wait. Meanwhile, the rest of the Fellowship reunites in Rohan, having defeated the wizard Saruman on two different fronts, at Helm's Deep and Isengard. They are not together for long, though, since the hobbit Pippin (Billy Boyd) gets into trouble, making it necessary for him and Gandalf (Ian McKellen) to hastily depart for Minas Tirith, capital of Gondor. Once there, they find the steward of Gondor, Denethor (John Noble), in an unstable mental state and the city preparing for battle against the amassing forces of Sauron. Denethor unwisely sends his only remaining son, Faramir (David Wenham), back into bloody battle to prove himself. He returns nearly dead, sending Denethor over the edge of sanity.

In another realm, elf Arwen (Liv Tyler) begins her journey to immortal life in the Grey Havens, on her way to leave Middle-earth -- and Aragorn (Viggo Mortensen) -- forever, but has a vision that causes her to once again reconsider her decision. Back in Rohan, the men are preparing to ride to Gondor's aide. Éowyn (Miranda Otto) desperately wants to join the men in battle, but her uncle, King Théoden (Bernard Hill), orders her to stay and defend Rohan if necessary. The hobbit Merry (Dominic Monaghan) also desires to ride with the men, but is denied due to his small size and inexperience. Aragorn is met there by the elf Elrond (Hugo Weaving), who brings him the re-forged Sword that was Broken (in the ancient battle with Sauron) and urges him to take a different route to Gondor. Heeding Elrond's advice, Aragorn, along with elf Legolas (Orlando Bloom) and dwarf Gimli (John Rhys-Davies), takes a cavernous path through the mountains, where they meet ghoulish ghosts who betrayed Aragorn's ancestors and are doomed to eternal unrest unless they fulfill their broken oaths by aiding him. All but Frodo, Sam, and Gollum will meet on the massive battlefield of the Pelennor before the gates of Minas Tirith. The former three instead engage in a battle of wills between each other and the One Ring as they head toward the fires of Mount Doom to destroy it. Released in December 2003, The Return of the King topped even its massively successful trilogy predecessors at the box office, and went on to garner a whopping 11 Academy Awards, including Best Picture -- winning in all the categories in which it was nominated and tying the record of total awards won with Ben-Hur and Titanic. ~ Dana Rowader, All Movie Guide