Greg Johnson Movies

Hanna-Barbera's beloved picnic-basket-stealing bear makes his big-screen debut in this live-action/animation mix children's flick from Journey to the Center of the Earth director Eric Brevig. The tourists just aren't flocking to Jellystone Park like they used to, and when the budget starts to get tight, Mayor Brown (Andrew Daly) brings down the axe. But while the mayor can certainly make a quick buck by selling the land, what about the families who like to spend their summers in the great outdoors? When Yogi (Dan Aykroyd) and Boo-Boo (Justin Timberlake) discover they're about to become homeless, they realize that their only hope for keeping Jellystone open is to team up with their old enemy Ranger Smith (Tom Cavanagh) and wage wildlife warfare against greedy Mayor Brown. ~ Jason Buchanan, Rovi

In 1950, most Americans had only a passing familiarity with the game of soccer, even though it was the world's most popular sport, and few athletes in the United States played the game with any particular degree of expertise. However, when an invitation was extended to the United States to participate in the World Cup tournament in Brazil -- the international soccer championship held every four years -- Bill Jeffrey was determined that America participate. In less than two weeks, Jeffrey assembled a team comprised mostly of players from St. Louis (where soccer had developed a small but loyal following) and the East Coast (where the game gained a foothold on college campuses), with immigrants from Haiti, Portugal, and Scotland filling out the ranks. Against all odds, the Americans not only made it to the World Cup games, but defeated the British team (favored by many to win the championship) in the greatest upset of the 1950 games. The Game of Their Lives is a sports drama based on the remarkable true story of the 1950 United States team, featuring John Rhys-Davies as Bill Jeffrey, Wes Bentley as team leader Walter Bahr, Gerard Butler as goalie Frank Borghi, Jimmy Jean-Louis as Joe Gaetiens, a dishwasher born in Haiti who found his way onto the team, and Patrick Stewart as a journalist covering the games. David Anspaugh, who made the acclaimed basketball drama Hoosiers, directed. ~ Mark Deming, Rovi

Directed by Colum McCann and Michael Carty, Beautiful Kid follows the lives of three kids growing up working-class Irish in the Bronx. Sean (Dan Brennan) loathes his alcoholic father, and doesn't harbor much affection for his brothers, who are alcoholics themselves. Sean, however, doesn't see the pattern in front of him and spends most of his free time abusing alcohol and drugs with his friends, Rock (Javier Pire) and Bridgette (Christie Myers). Though the group occasionally vows to straighten themselves out before they hit 30, nothing in the way of change occurs until Sean finds out that his former high-school crush (Kate Forsatz) managed to leave the neighborhood and its demons for a more lucrative lifestyle in San Francisco. Inspired, Sean decides to change his ways. Though Sean has a baby with Bridgette (Myers) and appears to reconcile with his father, alcohol and drugs still threaten the future of everyone involved. ~ Tracie Cooper, Rovi

Carlos (Manny Perez) is a talented artist who draws comics for a living. He's desperate to move out of his Washington Heights neighborhood. His girlfriend, Maggie (Andrea Navedo) feels more connected to the neighborhood. She's not so eager to leave. Carlos's best friend, Mickey (Danny Hoch), works as a super in the building his father owns, but he dreams of being a professional bowler. He's scheming to raise three grand to enter an open tournament in Las Vegas. Carlos's father, Eddie (accomplished Cuban-born actor Tomas Milian, who starred in Michelangelo Antonioni's Indentificazione di una donna), owns a neighborhood grocery store, and is well-liked in the neighborhood for his friendly way of doing business. Despite his advanced age, he's also a ladies' man, and was so even before Carlos's mother passed away. His philandering ways account for a lot of the tension between father and son. Carlos wants to draw his own comic book, but his boss, David (David Zayas) tells him that while he's got technical ability, his work is soulless. But Carlos's plans for the future are disrupted when Eddie is shot and critically wounded during a robbery at the store. Carlos resentfully takes care of his ailing father, and runs the store until Eddie can go back to work. Carlos's growing understanding of his community, and his father's importance to it, is reflected in his work, and he has a creative breakthrough. Meanwhile, Mickey's moneymaking schemes get him into trouble with Angel (Bobby Cannavale), Maggie's gangster brother. Washington Heights was directed by Alfredo De Villa, who wrote the script with Nat Moss. Novelist Junot Diaz (Drown) wrote additional dialogue. The film was shown at the 2002 Urbanworld Film Festival, and at the 2002 Tribeca Film Festival, where it received a Special Mention. ~ Josh Ralske, Rovi

Following up on her crowd pleasing 1998 film Finding North, Tanya Wexler directs this tweaked coming-of-age drama about a troubled teen and his even more troubled family. Having just come out of detox for drugs and alcohol, JJ (Jonathan Tucker) returns home hoping for a little comfort and solace, but he finds little of both. Though his mother continues to dote on him, everyone else is out to get him -- his brutish step-father Bull who is still furious over the vintage car JJ wrecked while hopped up; his vampish step-aunt Dot (Jennifer Tilly); his effete uncle Ernie. Even his former dealer Bobby, his girlfriend, who dumped him for Bobby, and his high school guidance counselor Dr. Charlie (David Strathairn) has something against JJ. While JJ struggles to straighten out his life, he remembers fondly his stay in detox. This film was screened at the 2001 Toronto Film Festival. ~ Jonathan Crow, Rovi

Writer Paul Auster made his solo directorial debut with this romantic drama about an affair between a middle-aged musician and an aspiring actress. Hit by a stray bullet during a nightclub shooting, jazz saxophonist Izzy Maurer (Harvey Keitel) can no longer play, and he falls into a depression. His ex-wife Hannah (Gina Gershon), now attached to producer Philip Kleinman (Mandy Patinkin), turns up unexpectedly to take care of Izzy. Izzy meets Kleinman, and he also has an encounter with actress-director Catherine Moore (Vanessa Redgrave), who's planning a production of Pandora's Box. Walking around Lower Manhattan, Izzy finds a man's body with a phone number and a stone that emits a blue light with healing properties. When he phones the number, he speaks with actress Celia (Mira Sorvino), who just happens to be listening to his music. They fall in love, and Celia gets Izzy a job as a busboy at the restaurant where she works. Both are fired when he goes into a jealous rage over the attention she receives from one of her customers. After Celia leaves to act in a film in Ireland, anthropologist Dr. Van Hom (Willem Dafoe) turns up, searching for the healing stone. Shown at the 1998 Cannes Film Festival. ~ Bhob Stewart, Rovi

A shy radio telescope operator named Zane Ziminski (Charlie Sheen) picks up a series of regular signals coming from space -- and deliberately pointed toward Earth. Convinced that he has discovered alien transmissions, Ziminski is first chastised and then fired by his boss (Ron Silver). Obsessed, he builds a makeshift radio telescope in his house to find out where the signals were sent. Convinced that they're intended for aliens already hidden on Earth, he tracks them to a bleak, isolated Mexican village, where he joins forces with a female scientist (Lindsay Crouse), who has suspicions of her own after witnessing an acceleration of global warming. The villagers turn out to be aliens, and the village a front for an underground alien complex. The aliens are here to "terraform" Earth and prepare it for the arrival of the rest of their race, who will die unless they leave their homeworld and colonize elsewhere. Only Ziminski can stop them. Written and directed by David N. Twohy, The Arrival is a throwback to the genre chillers of the '50s. ~ Don Kaye, Rovi

Director Wayne Wang and screenwriter Paul Auster had enough storylines and characters left over from their charming comedy Smoke to make another film, so they shot Blue In The Face immediately after Smoke was completed. The film once again centers on the Brooklyn Cigar Store and manager Auggie (Harvey Keitel), although most of the other characters are different. The store owner's frustrated wife Dot (Roseanne) is one of them, and one of the plotlines follows her attempts to seduce Auggie. Madonna, Michael J. Fox, Lily Tomlin, and Lou Reed (as himself) also put in appearances. Blue In The Face was shot without a complete script and presents a unique combination of distinctive performances, oddball characters, improvisations, and raffish scenes. ~ Don Kaye, Rovi

Writer/director Jane Campion's third feature unearthed emotional undercurrents and churning intensity in the story of a mute woman's rebellion in the recently colonized New Zealand wilderness of Victorian times. Ada McGrath (Holly Hunter), a mute who has willed herself not to speak, and her strong-willed young daughter Flora (Anna Paquin) find themselves in the New Zealand wilderness, with Ada the imported bride of dullard land-grabber Stewart (Sam Neill). Ada immediately takes a dislike to Stewart when he refuses to carry her beloved piano home with them. But Stewart makes a deal with his overseer George Baines (Harvey Keitel) to take the piano off his hands. Attracted to Ada, Baines agrees to return the piano in exchange for a series of piano lessons that become a series of increasingly charged sexual encounters. As pent-up emotions of rage and desire swirl around all three characters, the savage wilderness begins to consume the tiny European enclave. Campion imbues her tale with an over-ripe tactility and a murky, poetic undertow that betray the characters' confined yet overpowering emotions: Ada's buried sensuality, Baines' hidden tenderness, and Stewart's suppressed anger and violence. The story unfolds like a Greek tragedy of the Outback, complete with a Greek chorus of Maori tribesmen and a blithely uncaring natural environment that envelops the characters like an additional player. Campion directs with discreet detachment, observing one character through the glances and squints of another as they peer through wooden slats, airy curtains, and the spaces between a character's fingers. She makes the film immediate and urgent by implicating the audience in characters' gazes. And she guides Hunter to a revelatory performance of silent film majesty. Relying on expressive glances and using body language to convey her soulful depths, Hunter became a modern Lillian Gish and won an Oscar for her performance, as did Paquin and Campion for her screenplay. Campion achieved something rare in contemporary cinema: a poetry of expression told in the form of an off-center melodrama. ~ Paul Brenner, Rovi

Alex (Lauren Jackson) is a well-rounded girl in addition to being an Olympic-quality competitor. She takes ballet, plays on the school hockey team, and somehow finds time to perform in the school's production of The Mikado. Currently, she is one of the best swimmers in her class in all of New Zealand, and she's confident of a place on the Olympic team, but her coach (Chris Haywood) is worried that she's spreading herself too thin. Normally, competition-level swimmers have time for their classwork and for swimming, and precious little for anything else. In addition to her other non-swimming activities, Alex is even finding time to study Italian in preparation for the Rome Olympics. While a little confidence in an athlete is a good thing, this level of smugness is dangerous, and her cozy world is shattered when an equally good swimmer (Catherine Godbold) moves back to New Zealand from Singapore and begins competing against her. ~ Clarke Fountain, Rovi

This teen comedy/drama, set in a Canadian boarding school, is about growing up while being thrown together in school rooms and residences. Conflicts and passions arise as the teens try to handle issues like a mother dying of cancer, prejudice, the agony of physical "defects," and other more or less debilitating problems. ~ Eleanor Mannikka, Rovi