Shortly after James Dean died in a car crash, Robert Altman and George W. George (son of Rube Goldberg) set out to document the young star's brief life. The results are mixed. The narration (written by Stewart Stern, who wrote Rebel Without a Cause and befriended Dean) tries to get beyond the public image of Dean as the cool rebel to show the lonely young man underneath. It's a bit overwrought, but that's understandable, given the strong emotions Dean elicited from those who knew and loved him. But Martin Gabel is all wrong as narrator; his stentorian delivery turns the hot-blooded musings of youth into ponderous, pompous pronouncements totally lacking in humor. The most interesting element is the people of Fairmont, Indiana, where Dean grew up-straightforward, direct, and proud of Dean not for the fame he attracted but for who he was. The Bells of Cockaigne is an early appearance from Dean's days in television in New York. He plays the father of a sick child who gambles his week's pay to try to earn enough to take his son "somewhere warm and dry. " Gene Lockhart is the stubborn old Irishman who ultimately gives up his own dreams to help Dean. [+]

Herman Raucher's autobiographical (or first person, anyway) coming-of-age tale is set, as the title suggests, among sand dunes and departing GIs. Hermie (Gary Grimes) and his two buddies Oscar (Jerry Hauser) and the nerdy Benjie (Oliver Conant) are spending the summer doing the things preadolescents do: hanging out, eating ice cream, stealing "dirty" books from their parents, and trying unsuccessfully to act manly around the gawky girls they take to the movies. Then Hermie spoils everything by really falling in love, this time with the adorable older woman Dorothy, played by Jennifer O'Neill. Dorothy's husband conveniently leaves for duty overseas, and then, even more conveniently, becomes one of those "we regret" telegrams. Dorothy, desperate for comfort and sweetness, turns to Hermie-and surely makes his summer. The setting and the date give this movie a double helping of nostalgia for anyone who was once an adolescent boy desperately trying to get rid of both his callowness and his virginity. But the slow pace and dreamy atmosphere, courtesy of Robert Mulligan's direction and Michael Legrand's famous score, may give it less appeal to anyone who is still in that situation. -Richard Farr.

Bill Murray was heading toward a career peak on the back of comedies such as this one from 1981, the second film in his ongoing collaboration with director Ivan Reitman (the two went on to make Ghostbusters). Murray plays a chronic loser who joins the army and fails to find a fan for his ironic sensibilities in his by-the-book sergeant (Warren Oates). When push comes to shove, however, the smirking hero takes charge of his ragtag unit and turns them into fighting machines, albeit to the rhythm of hit songs by Manfred Mann and Sly Stone. The film is occasionally funny, but it mostly plays like any one of a dozen underachieving comedies featuring players from Saturday Night Live and SCTV. -Tom Keogh.

Tom Tykwer, writer-director of the international hit Run Lola Run, shows a more pensive side with Winter Sleepers. The film examines the lives of five characters in the aftermath of an auto accident. As with Run Lola Run, Tykwer's main concern is with chance and coincidence, and the ways people unwittingly influence the course of each other's lives. Theo, a farmer, sets off to take his horse to the vet, unaware that his daughter is hidden in the trailer. Momentarily distracted, Theo swerves to avoid a sports car coming the other way and crashes into a mountain slope, critically injuring his daughter. The sports car is covered by snow, and René, the driver, digs his way out and leaves the scene. Meanwhile translator Rebecca negotiates a stormy-but-sexy relationship with loutish ski instructor Marco, both of them unaware that Marco's stolen car was involved in the crash, and Rebecca's roommate Laura nurses the young accident victim by day and begins a tentative relationship with René by night. While Winter Sleepers doesn't have the same manic pace as Lola, Tykwer's visual style is very much in evidence-he makes beautiful images of everything from the snow-covered Bavarian mountains to a cut finger. As it moves through a series of tiny but crucial events to a truly haunting ending, Winter Sleepers is in many ways reminiscent of Atom Egoyan's The Sweet Hereafter, both in its central plot device and in its melancholy atmosphere of fatal inevitability. -Ali Davis.