Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship.... See full summary »
Having discovered that she is pregnant, Natalie Ravenna (Shirley Knight), a Long Island housewife panics and leaves home to see if she might just possibly have made something different out ... See full summary »
A sergeant must deal with his desires to save the lives of young soldiers being sent to Vietnam. Continuously denied the chance to teach the soldiers about his experiences, he settles for trying to help the son of an old army buddy.
Francis Ford Coppola
James Earl Jones
Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.
Francis Ford Coppola
A writer with a declining career arrives in a small town as part of his book tour and gets caught up in a murder mystery involving a young girl. That night in a dream, he is approached by a... See full summary »
Rusty James is the leader of a small, dying gang in an industrial town. He lives in the shadow of the memory of his absent, older brother -- The Motorcycle Boy. His mother has left, his father drinks, school has no meaning for him and his relationships are shallow. He is drawn into one more gang fight and the events that follow begin to change his life. Written by
Bruce Janson <email@example.com>
Francis Ford Coppola's most personal film is also one of his best - in its own way just as good as APOCALYPSE NOW and THE GODFATHER films. Those who wonder why Mickey Rourke is so revered by cult film fans need look no further than his almost-hypnotic performance as The Motorcycle Boy. But Matt Dillon is just as good as his younger brother, and when you also have the likes of Nic Cage, Diane Lane, Dennis Hopper, Laurence Fishburne, and Chris Penn in the supporting cast, you know it's a once-in-a-lifetime movie. The look of the film - a sparse black-and-white urban landscape - is perfect, as is Stewart Copeland's atmospheric music. But aside from the visual and aural pyrotechnics, what really singles this out as a bona fide classic is its spot-on portrayal of disaffected youth. When Hopper describes to Dillon how Rourke has simply been "miscast in the play", I still feel shivers running down my spine...
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