Bradley Gregg Movies

Based on the Stephen King short story The Body, Rob Reiner's easygoing nostalgia piece is set in Castle Rock, OR, over Labor Day weekend, 1959. A quartet of boys, inseparable friends all, set out in search of a dead body that one of the boys overhears his brother talking about. The foursome consists of intellectual Gordie (Wil Wheaton), born leader Chris (River Phoenix), emotionally disturbed Teddy (Corey Feldman), and chubby hanger-on Vern (Jerry O'Connell). The boys' adventures en route to the elusive body are colored by the personal pressures brought to bear on all of them by the adult world. Richard Dreyfuss, playing the grown-up Gordie, narrates the film, while Kiefer Sutherland dominates every scene he's in as a brutish high-school bully. ~ Hal Erickson, Rovi

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, Rovi

The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, Rovi

Mark L. Lester's follow-up film to his Class of 1984 is a rancidly violent peek at a near-future high school world of terror -- The Jetsons meet The Terminator. In Lester's world, total anarchy rules (at least in Seattle). Classrooms are sinkholes of violence, and around the kill-zone high schools "Free Fire Zones" are set up that look like re-creations of Dachau. Rival youth gangs roam these areas with enough artillery for a second Vietnam War. The gangs' insane violence is exacerbated by a drug called Edge. When the Department of Educational Defense needs to supply new teachers, they look to a secret government agency headed by Dr. Bob Forrest (Stacy Keach) who sends new teaching recruits (Pam Grier, John P. Ryan, Joshua Miller) to the beleaguered high school. These novice teachers are not your ordinary teaching-college graduates, however. They are "tactical education units" -- cyborgs reprogrammed to teach readin' and writin' and 'rithmetic. If the students don't learn their daily assignments, they learn an even bigger lesson -- learn or die. The strict disciplinarian robots compel the student gangs to unite and fight the new educational menace. Under the leadership of Cody Culp (Bradley Gregg), who has just gotten out of reform school and has seen that there is more to life than killin' and cuttin' and Edge, the punks take up arms against the cyborgs who are invading their high-school turf. ~ Paul Brenner, Rovi

Terry Gilliam directed this adaptation of Richard LaGravenese's mystical (and mythical) tale of redemption in the hard-time town of New York City. Jeff Bridges is shock radio DJ Jack Lucas, whose low opinion of humanity lends itself well to his radio talk show, where the enmity rubs off on his listeners. One fan in particular takes Jack's rants to heart and goes to a fancy restaurant with a gun, murdering innocent diners. Jack is so distraught at what his on-air suggestion wrought that he sinks into a three-year depression, drinking himself to sleep and mooching off of his girlfriend Anne Napolitano (Mercedes Ruehl, in an Oscar-winning performance), an attractive owner of a video store. Hitting bottom, Jack slumps to the river, prepared to commit suicide. To his rescue comes a crazed but witty homeless man named Parry (Robin Williams), who tells Jack he's destined for great things -- all his has to do is find the Holy Grail (conveniently located in mid-town Manhattan) and save Parry's soul. He also wants Jack to help him out with the woman of his dreams, Lydia Sinclair (Amanda Plummer), a shy type who works at a publishing company. Parry was once a university professor became unglued by a tragic event in his past; Jack soon realizes that to save himself, he first must save Parry. ~ Paul Brenner, Rovi

One of the most famous real-life UFO abduction cases on record becomes this character-driven drama from sci-fi screenwriter Tracy Torme. D.B. Sweeney stars as Travis Walton, a forestry worker who disappears one night during an encounter with a flying saucer. Authorities treat with skepticism the outrageous story related by the only witnesses to the event, Travis' five co-workers, who include his best friend and future brother-in-law, Mike Rogers (Robert Patrick). A state lawman (James Garner) finds a tabloid newspaper in the crew's pickup truck and quickly ascertains that tensions had arisen between Walton and a surly fellow logger (Craig Sheffer), leading him to conclude that a murder cover-up is underway. However, all of the men pass lie detector tests and the case becomes stalled until the shocking last-minute reappearance of Travis, who tells a literally fantastic story involving his whereabouts for the past week. ~ Karl Williams, Rovi

With Weaver on suspension, the prickly Romano (Paul McCrane) is in charge of the ER. Carter (Noah Wyle) goes ballistic when he suspects that his patient is faking an injury. Abby (Maura Tierney) treats a woman with five children, who doesn't want the sixth baby on the way. Finch (Michael Michele) and Corday (Alex Kingston) exchange heated words over the treatment of a 16-year-old accident victim (Matt Doherty). And while Greene (Anthony Edwards) struggles to cope with his father's terminal illness, a remembrance of the late Lucy Knight unexpectedly materializes at the ER. ~ Hal Erickson, Rovi