Bruce Cohen Movies

Academy Award winner Sean Penn takes the title role in Gus Van Sant's biopic tracing the last eight years in the life of Harvey Milk, the ill-fated politician and gay activist whose life changed history, and whose courage still inspires people. When Milk was elected to the San Francisco Board of Supervisors in 1977, he made history for being the first openly gay man in American history to be voted into public office. But the rights of homosexuals weren't Milk's primary concern, as tellingly evidenced by the wide array of political coalitions he formed over the course of his tragically brief career. He fought for everyone from union workers to senior citizens, a true hero of human rights who possessed nothing but compassion for his fellow man. The story begins in New York City, where a 40-year-old Milk ponders what steps he can take to make his life more meaningful.

Eventually, Milk makes the decision to relocate to the West Coast, where he and his lover, Scott Smith (James Franco), found a small business in the heart of a working-class neighborhood. Empowered by his love for the Castro neighborhood and the success of his business, Castro Camera, Milk somewhat unexpectedly begins to emerge as an outspoken agent for change. With a growing support system that includes both Scott and a like-minded young activist named Cleve Jones (Emile Hirsch), the charismatic Milk decides to take a fateful leap into politics, eventually developing a reputation as a leader who isn't afraid to follow up his words with actions. In short order, he is elected supervisor for the newly zoned District 5, though this seeming triumph is in fact the catalyst for a tragedy that starts to unfold as Milk does his best to forge a political partnership with Dan White (Josh Brolin), another newly elected supervisor. Over time it becomes apparent that Milk and White's political agendas are directly at odds, a revelation that puts their personal destinies on a catastrophic collision course. ~ Jason Buchanan, Rovi

Writer/director John August ponders the metaphysical aspects of life and art in an episodic allegory that follows three artists as they embark on a soul searching journey of fate versus free will. When a troubled actor is placed under house arrest in "The Prisoner," his imagination begins to run wild due to the fact that his spirited publicist and cynical neighbor provide his only link to the outside world. Later, after the planes of reality fold in on themselves during the production of a Project Greenlight-style show which documents the filming of a popular sitcom in "Reality Television," "Knowing" follows a successful video game designer and his family as they become stranded in the middle of nowhere due to automotive issues. Ryan Reynolds, Hope Davis, and Melissa McCarthy star in a drama that peels back the layers of reality to ask whether or not mankind really has any control over his ultimate fate. ~ Jason Buchanan, Rovi

Tim Burton directs the fantasy drama Big Fish, based on the book Big Fish: A Novel of Mythic Proportions by Southern writer/illustrator Daniel Wallace. Billy Crudup plays William Bloom, a young man who never really knew his dying father, Edward (Albert Finney) outside of the tall tales he told about growing up, making his way, and meeting his mother (played as a young woman by Alison Lohman and in older age by Jessica Lange). During Edward's last days, William and his wife Josephine (Marion Cotillard) hold bedside vigil as the old man recollects elaborate memories of his youth (in which he is played by Ewan McGregor). Still doubting the the legends and folklore, William makes a journey to meet a mysterious woman (Helena Bonham Carter) from whom Edward had bought property. Steve Buscemi and Danny De Vito also star. ~ Andrea LeVasseur, Rovi

Before the Flintstones were everyone's favorite Stone Age family, Fred was just a regular guy looking for the girl of his dreams, and his romance with Wilma sets the stage for this prequel to the 1994 screen adaptation of the popular cartoon series. Fred Flintstone (Mark Addy), a working-class caveman who earns his living at Mr. Slate's quarry, falls in love with wealthy heiress Wilma Slaghoople (Kristen Johnson). While many people think that Fred is out of his league, including Wilma's mother Pearl (Joan Collins) and her father Col. Slaghoople (Harvey Korman), he's determined to win her heart. And when his best friend Barney Rubble (Stephen Baldwin) decides to take his best girl Betty (Jane Krakowski) for a fun weekend in Rock Vegas, he invites Wilma to tag along. The Flintstones in Viva Rock Vegas recasts all the major roles from 1994's The Flintstones; Harvey Korman is the only actor to appear in both films, though in different roles (in the previous movie, he was the voice of the Dictabird). ~ Mark Deming, Rovi

Gore Verbinski, the TV-commercials director responsible for the Budweiser frogs, directed this Adam Rifkin screenplay about two brothers (Nathan Lane and Lee Evans) who inherit a string factory and a decaying country home after the death of their father (the late William Hickey, in his last role). After moving in, they learn that the house has historical architectural importance and is valued in the millions. However, they are constantly tormented by a mouse within the walls. They engage in cartoon-like combat against the rodent, but it manages to outwit the brothers in successive situations. Both live and animatronic mice portray the title role, and some scenes assume the mouse's point of view. The film is dedicated to William Hickey. ~ Bhob Stewart, Rovi

Patrick Swayze plays Vida Boheme, a classy and long-reigning drag queen. With his understudy Noxeema Jackson (Wesley Snipes), Vida wins a New York drag stage contest and an all-expenses-paid trip to Hollywood. But when Miss Chi Chi Rodriguez (John Leguizamo) cries at having lost the contest, soft-hearted Vida cashes in the airline tickets so the three of them can take a car out West. The film becomes a strange sort of buddy road movie, with the three cross-dressers traveling across the American heartland in a shiny yellow Cadillac. First they tangle with Sheriff Dollard (Chris Penn). He stops them for a minor traffic violation, puts the moves on Vida, and Vida knocks him out, so they flee. Later, they are stranded by car problems in a small town in Nebraska. Renting a room in a hotel, they put some life into the town and its annual strawberry festival. They provide a mousy local woman, Carol Ann (Stockard Channing), with new role models of assertiveness. They also insist on chivalrous treatment from the local good old boys and give lessons on courting to a teenage girl. This film was released on the heels of the more outrageous Australian film The Adventures of Priscilla, Queen of the Desert, which featured Terence Stamp as a drag queen. ~ Michael Betzold, Rovi

This is the first mainstream film to deal with the harrowing true story of a Uruguayan rugby team whose plane crashed in the Andes mountains in October of 1972 and who were forced to resort to cannibalism to survive more than two months of isolation. (The only other film to tackle the subject, Rene Cardona's Survive! was a seedy little mess that delighted in exploiting the cannibalism aspect.) The events depicted are primarily based on the novel of the same name by Piers Paul Read. The interview-style prologue features an uncredited John Malkovich as one of the survivors, whose spiritual ruminations on the disaster kick off the film's main action. We are briefly introduced to the characters before disaster strikes, in the film's most horrifying set-piece -- the depiction of the crash in grueling detail. The handful of survivors who manage to extricate themselves from the twisted wreckage seem incapable of working through their panic as they hope against all odds that a rescue party will locate them. One of the survivors, Nando (Ethan Hawke), awakens from a coma and makes a remarkable recovery -- enough to demonstrate level-headed leadership after team captain Antonio (Vincent Spano) begins to lose his nerve. As the weeks wear on and rations are depleted, the survivors are forced into a moral dilemma: the only remaining source of food seems to be the bodies of the dead. Those who choose for religious reasons not to consume their former companions must face the realization that they will soon starve or freeze to death. In the end, three men who choose survival above all else find the strength to set out on a treacherous mission to a ridge, where hopefully one of them will make it to civilization. Director Frank Marshall infuses the proceedings with sufficient intensity to keep the story moving, but the film fails to fully explore the often-recounted spiritual aspects of the ordeal as established in the opening monologue. Ironically, the writers' apparent attempts to remain true to Read's account of events -- resulting in some rather odd stretches of dialogue -- impede the drama even more than the Hollywood glamorization of the story's nominal "heroes," who remain rugged and handsome despite months of malnutrition and severe frostbite. ~ Cavett Binion, Rovi

Former Starsky and Hutch star Paul Michael Glaser warmed the director's chair for Band of the Hand. The film zeroes in on five juvenile delinquents who are plucked from their various detention facilities and unceremoniously dumped in the wilds of the Everglades. The boys begin to panic until hardcase Vietnam veteran Stephen Lang arrives. Lang explains that they've been paroled in his custody, and that it is his task to teach them how to work as a team in order to survive. The logic of this plan is to whip the boys into an elite vigilante unit, then sic them on the various drug dealers of America. The film features early performances by Lauren Holly and Larry Fishburne and Bob Dylan can be heard singing the title song. ~ Hal Erickson, Rovi