Bart the Bear Movies

John Cameron Mitchell, who created a cult sensation as writer and director of Hedwig and the Angry Inch, blazes a brave new trail with this comedy-drama which combines the stories of a handful of emotionally unsatisfied New Yorkers with some of the most explicit sexual material to ever appear in a mainstream motion picture. Sofia (Sook-Yin Lee) is a couples' therapist who has a major relationship problem of her own -- she's never had an orgasm, and her husband Rob (Raphael Barker) doesn't seem capable of giving her one. Sophia's clients include James and Jamie (Paul Dawson and PJ DeBoy), a gay couple who have been together for five years and are beginning to grow tired of one another. As James and Jamie discuss the possibility of bringing another man into the bedroom, Sophia accidentally mentions her problem, and they tell her of an upcoming "Shortbus Party," a sexual free-for-all in which straight, gay, and lesbian couples are all welcome to either talk about sex or take a more active role in the main ballroom. As James and Jamie hook up with Ceth (Jay Brannan) for some mutually satisfying action at the bash, Sophia experiments with Sapphic diversions, and begins to truly find herself when she encounters Severin (Lindsay Beamish), a professional dominatrix. However, while Sophia begins to find what she needs with Severin, she discovers that while Severin is able to casually enter into a sexual relationship, she's never been able to emotionally commit herself to someone else. Shortbus was screened in competition at the 2006 Toronto Film Festival. ~ Mark Deming, Rovi

Billionaire Charles Morse (Anthony Hopkins) accompanies his much-younger wife Mickey (Elle Macpherson) and a fashion photography team headed by Bob Green (Alec Baldwin) to a remote lodge in Alaska. Charles is a quiet, introspective man, fond of accumulating trivia and other facts in his encyclopedic mind; he is also troubled with the idea that Bob and Mickey may be lovers. Even though he suspects the younger man plans to kill him, Charles goes with Bob and his assistant Stephen (Harold Perrineau) on an airplane trip to find a photogenic friend (Gordon Tootoosis) of the lodge owner (L.Q. Jones), but the plane crashes in a lake, killing the pilot. The crash is miles from their planned path, so they can't expect to be spotted by an aerial search; there's only one chance: they have to walk to a more likely spot.Though Robert and Stephan are more physically fit, Charles' calm wit and ingenuity proves the key to their survival, especially after a ferocious bear brutally kills Stephen. Robert and Charles' odyssey becomes more urgent when they discover that the bear is now stalking them. ~ Bill Warren, Rovi

The sweeping, melodramatic saga of three brothers, their powerful father, and a beautiful woman, the popular period drama Legends of the Fall presents a romanticized view of rugged masculinity against lush Montana scenery. Based on a novel by Jim Harrison, the film covers decades in the lives of Alfred (Aidan Quinn), Tristan (Brad Pitt), and Samuel (Henry Thomas) Ludlow, the sons of retired military man William Ludlow (Anthony Hopkins). Raised by the unorthodox Ludlow after the departure of their mother, the boys grow up close, sharing an appreciation of the land and a pioneering spirit. The family becomes divided, however, when young Sam enlists in World War I over his father's objections, and his brothers follow suit to protect him. Despite these efforts, Sam dies in battle, leaving Alfred and Tristan to return home and deal with the lingering torment. Further complicating matters is the presence of Sam's beautiful fiancée, Susannah (Julia Ormond). After Sam's death, she attracts the romantic attention of both the responsible Alfred and the brooding Tristan, a conflict that threatens to drive the brothers apart. Aspiring to epic status, the film utilizes period detail and attractive landscapes as a backdrop for tragic, doomed romance. While some critics complained that the film resembled a romance novel writ, veering at times into the overwrought, audiences embraced the combination of emotion and grand historical scale, making the film a box-office success. ~ Judd Blaise, Rovi

An orphaned white teen and a Cree Indian boy must put their differences aside to survive when they get lost together in the Canadian wilderness. ~ Jason Ankeny, Rovi

Jean-Jacques Annaud directed this unusual and compelling tale of animals in the wild, which tells its tale from the bears' point of view. A pair of carefully-trained bruins deliver remarkably effective "performances" (aided by clever editing and, in some sequences, the use of realistic animated models). A infant bear cub (Douce the Bear) witnesses the death of his mother in a rockslide and is forced to set out to fend for himself. The young bear encounters a giant grizzly (Bart the Bear), who at first cannot abide the young bear's presence. However, the grizzly is soon ambushed by a pair of hunters -- Bill (Jack Wallace) and Tom (Tcheky Karyo) -- after an altercation with their pack animals. As the injured beast cleans his wounds in a stream, the young bear comes to his aid, and the giant takes the youngster under his wing. However, Bill and Tom have sworn revenge on the grizzly, and when they capture the young bear, it lures the giant back into the hunters' camp. L'Ours, released in English-speaking countries as The Bear, was based on the novel King Grizzly by James Oliver Curwood. ~ Mark Deming, Rovi

Cinematographer Michael Chapman directed this John Sayles adaptation of Jean M. Auel's best-selling ode to Cro-Magnon women. The story begins at the moment in pre-history when the last of the Neanderthal men were becoming extinct and the superior race of Cro-Magnons were starting to supersede them. Focusing on a tribe of wandering Neanderthals who adopt a young girl named, Ayla (played as an adult by Daryl Hannah). She grows tall, lithe, and smart. The Neanderthals quickly accept her into their tribe, but once a tribal member, Ayla begins to question the tribe's male chauvinistic presumptions. Unable to conceive of why only men are given weapons, she takes it upon herself to learn how to use a slingshot. She then questions the tribe's assumptions concerning sexual politics. She learns to count and becomes the assistant to the local medicine expert. As the seasons wear on, the tribe utilizes Ayla's knowledge for their own good while Ayla's continues to try the patience of the tribe with her unspeakable feminist demands. ~ Paul Brenner, Rovi