James D. Brubaker Movies

In this supernatural thriller, Kevin Costner plays Joe Darrow, a physician mourning the death of his wife Emily (Susannah Thompson) in a bus accident in South America, where she was providing medical outreach. Wracked by grief, Joe works extra shifts at the hospital to take his mind off the tragedy, but the intense workload triggers his short temper and some careless mistakes. His officious boss (Joe Morton) forces Joe to take time off, but Joe feels obligated to check in on his wife's pediatric patients, fulfilling a promise he made before she left. Visiting the ward, Joe starts to believe that Emily is using the near-death experiences of her terminal patients to communicate with him, through images the children report seeing in their dreams, and symbols they are inexplicably compelled to draw. While the children see Joe as a kindred spirit, the hospital staff worries about how these interactions are agitating them. At home, Joe begins finding other ethereal evidence of his wife's attempt to contact him from beyond the grave, some of it featuring the image of a dragonfly, which was the shape of the birthmark on her shoulder. His friends and a caring neighbor (Kathy Bates) worry that Joe is losing his marbles, especially as his quest becomes more frantic, putting his job in jeopardy. ~ Derek Armstrong, Rovi

Comedians Eddie Murphy and Martin Lawrence team up for a story that wouldn't appear to have many immediate humorous possibilities -- two men serving life sentences in prison for a crime they did not commit. Life opens in Harlem in 1932, where Ray Gibson (Eddie Murphy) is a small-time con man in debt to Spanky, a gangster (Rick James). Ray spots would-be bank teller Claude Banks (Martin Lawrence) at a gambling spot and, figuring him for an easy mark, lifts his wallet -- only to discover Claude is broke. Ray and Claude's mutual need to raise some cash brings them together when Spanky offers them a job bringing back a load of moonshine from bootleggers in the deep south. However, things don't go well for Ray and Claude, and they're arrested by a sheriff in Mississippi who recently killed a man and needs someone on whom he can hang the charge. Since Ray and Claude are black, from out of town and have been caught red-handed with a load of illegal liquor, the sheriff figures they're easy pickings and frames them for the murder. Soon the two men are inmates in a Southern work camp, where they spend the next 55 years learning to get along with the other inmates, avoiding the wrath of the guards, seeing younger prisoners come and go and never losing hope that someday, somehow, their innocence will be proven and they'll be released. Life is the second screen pairing for Murphy and Lawrence, who also shared screen time in 1992's Boomerang, and was scripted by Robert Ramsey and Matthew Stone from an original idea by Murphy. The supporting cast includes Ned Beatty, Clarence Williams III, Bernie Mac, Nick Cassavetes and R. Lee Ermey. ~ Mark Deming, Rovi

Eddie Murphy gives one of Jerry Lewis' best-remembered vehicles a 1990s overhaul in this hit comedy. Sherman Klump (Murphy) is a college professor and respected biochemistry researcher who is kind, considerate, and a genuinely nice guy. Sherman is also appallingly overweight; coupled with the fact that he's painfully shy and a bit clumsy, his romantic prospects are rather bleak. When Sherman finds himself working with a pretty graduate student, Carla Purty (Jada Pinkett), he falls in love and is eager to impress her, but at an upscale nightclub, his weight attracts the attention of an insult comic (Dave Chappelle) and his bumbling spoils the evening. Sherman's latest project is a genetic weight loss formula, and despondent over his failure to win Carla's heart, he subjects himself to a massive dose. Suddenly, Sherman is transformed into the slim, trim, and handsome Buddy Love; however, the drug also boosts his testosterone level, turning the likable Sherman into the arrogant, skirt-chasing Buddy. In addition to playing Sherman and Buddy, Eddie Murphy also plays four other members of the porcine Klump family, as well as eccentric exercise guru Lance Perkins. ~ Mark Deming, Rovi

A young aspiring professional basketball player must make some tough decisions in this sports melodrama. Kyle Lee is a talented basketball player in high school. While he waits to find out if he will receive a scholarship to Georgetown he finds himself in a difficult dilemma over a playground basketball tournament. He must decide whether to follow his good-hearted coach or Birdie, the local gangster. Kyle is also feeling resentment for the security guard his mother is falling for. The coach also wants the guard to play, but due to the tragic death of a friend, the guard cannot bear the thought of playing again. ~ Sandra Brennan, Rovi

Brain Donors is a game attempt to redo the Marx Brothers' A Night at the Opera in a contemporary setting. John Turturro plays the "Groucho" character, a shifty lawyer (he's even given a Grouchoesque three-barrelled moniker). Bob Nelson is the "Harpo" counterpart, a puckish handyman. And Mel Smith completes the trio as a Chico-like cabbie. All three conspire to save a failing ballet company on behalf of dowager Nancy Marchand, who does a film-length impersonation of Margaret Dumont. At times, Pat Proft's script comes off more like a 3 Stooges short than a Marx Brothers romp, but that's not so bad. What hurts the film is its fluctuating pace, which shifts into neutral just when it should go into hyperdrive. Will Vinton's Claymation opening titles supply some of the film's biggest laughs. ~ Hal Erickson, All Movie Guide

James Belushi stars in this cop actioner about a loner narcotics officer who has to break in a new partner. The twist here is that the new partner is barely housebroken, but he's still sharp and keeps his nose close to the ground. Dooley (Belushi), who works on the San Diego narc squad, is an eccentric guy who has pizzas delivered to his car and likes a good steak. He is working on a stakeout of a local drug dealer when he barely escapes with his life as a helicopter blows up his car. When he asks the department for a new car, they give him a new partner instead --a police dog called Jerry Lee (Jerry Lee the Dog). Jerry's good at sniffing out the criminals but Dooley doesn't really hit it off with his new partner until the pooch saves his life. ~ Paul Brenner, Rovi

After winning the heavyweight boxing championship and single-handedly winning the war in Vietnam for America, Sylvester Stallone moves on to a real challenge -- arm wrestling -- in this action drama with a family undercurrent. Lincoln Hawk (Stallone) is a long-haul truck driver who years ago abandoned his wife Christina (Susan Blakely) and their son Michael (David Mendenhall). Hawk comes to see the error of his ways and wants to reconcile with his loved ones, only to discover that Christina is in the hospital suffering through the last stages of a terminal illness. Her wealthy and powerful father, Jason Cutler (Robert Loggia), has come to hate Hawk for the way he left his daughter to fend for herself, and he wants full custody of the boy upon her death. But Hawk is desperate to mend his relationship with Michael. He kidnaps the boy, and as Jason's hired goons give chase, Hawk points his truck toward the one place where he can win the money and recognition that will earn his son's respect -- a wrist-wrestling championship in Las Vegas. Actor Sylvester Stallone also co-wrote the screenplay. ~ Mark Deming, Rovi

The self-aggrandizing world of Madison Avenue advertising is the subject of this clichéd, sexist satire that features a cynical ad executive (Loretta Swit) and her minions who choose three regular Joes to represent the Norbecker Beer company in a new ad campaign. ~ Eleanor Mannikka, Rovi

After a big-time country singer (Dolly Parton) brags that she can turn anybody in to a country-singin' star, she's out to prove she can live up to her talk when she recruits a cab-driver (Sylvester Stallone) as a country singer. He's scheduled to sing at a big-time NYC country night club and Dolly puts her ample powers to work in preparing her protege. ~ Rovi

Sylvester Stallone returns to the character which made him famous in this wildly successful sequel. Rocky III starts with the Italian Stallion so famous that his likeness is everywhere, including pinball machines. Fame and complacency soon cause Balboa to lose his title to young thug Clubber Lang (Mr. T), who inadvertently causes the death of Rocky's beloved trainer, Mickey (Burgess Meredith), before their first championship bout. After sinking into a depression, Balboa must regain the love and support of his family, as well as the elusive "eye of the tiger," the hungry need to beat the opponent which former foe Apollo Creed (Carl Weathers) teaches him during this film's de rigueur training sequence. In the end, Balboa faces off against Lang for a second time. "Eye of the Tiger," the theme song Stallone commissioned from the band Survivor, became a huge hit single. ~ Perry Seibert, Rovi

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarty), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s. ~ Lucia Bozzola, Rovi