Frank Marshall Movies

The funny side of sports fandom provides the common element for two stories in this made-for-cable anthology feature. In the first segment, based on a short story by Don Marquis, a golfer (Bob Newhart) looks like he's about to break 100 for the first time, but his partner (Kelsey Grammer) keeps insisting upon following every rule in the book, much to his friend's annoyance. The second story is based on 1968's real-life "Heidi Bowl" incident, in which NBC-TV's broadcast of a hard-fought game between the New York Jets and the Oakland Raiders, which seemed likely to determine the AFL championship, was cut off --with 65 seconds left to play and the score at 32-29 -- in order to begin a scheduled showing of a made-for-TV movie based on the classic children's story Heidi. Eugene Levy plays a network control room supervisor, Ellie Harvie appears as a NBC switchboard operator trying to handle the sudden influx of angry calls, Gary Basaraba plays her husband, who is watching the game at home with friends, and John Kapelos is a bookie with a lot of money riding on the game. Fox-TV sports commentator James Brown hosts the two-part film, which was produced for the Showtime premium cable network. ~ Mark Deming, Rovi

In this tense tale of psychological terror, Dr. Malcolm Crowe (Bruce Willis) is a child psychologist whose new patient has a problem far outside his usual area of expertise. Cole Sear (Haley Joel Osment) is six-years-old and claims to see the spirits of dead people all around him. It seems that Cole has psychic powers and can channel the ghosts of those who were troubled. Cole doesn't understand his powers, and he has little control over them; he's constantly terrified by what he sees, and Dr. Crowe is the only one with whom he feels he can share this secret. However, as the doctor digs deeper into Cole's strange powers, it leads to strange and unexpected consequences for both of them. M. Night Shyamalan, who wrote and directed the film, has a small role as Dr. Hill. ~ Mark Deming, Rovi

President John F. Kennedy issued the challenge to America in a speech to Congress in 1961: Land a man on the moon within the decade. This HBO mini-series, produced by Tom Hanks, chronicles the story of NASA's efforts to carry out the vision. In episode six, the goal is in sight, as astronauts Michael Collins, Neil Armstrong, and Buz Aldrin take off on a historic flight to the moon, and Neil Armstrong makes that "one small step for a man" onto the moon's surface. ~ Rose of Sharon Winter, Rovi

Based on the popular children's book by Lynne Reid Banks, this fantasy concerns a young boy who discovers that his toys are developing lives of their own -- which presents him with unexpected responsibilities. Omri (Hal Scardino), a young boy growing up in Brooklyn, receives an odd variety of presents for his birthday: a wooden cabinet from his older brother, a set of antique keys from his mother Jane (Linsday Crouse), and a tiny plastic model of an Indian from his best friend Patrick (Rishi Bhat). Putting them all together, Omri locks the Indian inside the cabinet, only to be awoken by a strange sound in the middle of the night. Omri opens the cabinet to discover that the tiny Indian has come to life; it seems that he's called Little Bear (Litefoot), and he claims to have learned English from settlers in 1761. Omri hides this remarkable discovery from his mother but shares it with Patrick; as an experiment, Patrick locks a toy cowboy into the cupboard, and soon Little Bear has a companion, Boone (David Keith), though predictably, the cowboy and the Indian don't get along well at first. Omri comes to the realizations that his living and breathing playthings are also people with lives of their own, and he begins to wonder how much control he should really have over their lives. The Indian in the Cupboard was directed by Frank Oz, best known as one of the original puppeteers for The Muppets and the voice of Miss Piggy. ~ Mark Deming, Rovi

In this animated children's film from Amblin Entertainment, a group of four dinosaurs, including a tyrannosaurus rex, a triceratops, a hadrosaur, and a pterodactyl, are brought forward in time to New York City to entertain and befriend the children. However, when the dinosaurs are threatened by an evil circus owner, it is up to their young friends to save the day. ~ Iotis Erlewine, 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

Babs and Buster Bunny begin their summer vacation with a squirt gun fight, while Plucky and Hampton J. Pig take a road trip to a theme park called Happy World Land. Elmyra visits a nature park, much to the animals' dismay. ~ Tracie Cooper, Rovi

 

Martin Scorsese's remake of Cape Fear provided the director with a box-office success to follow up the critical success of the previous year's Goodfellas. After serving a lengthy prison sentence for a sexual assault, Max Cady (Robert De Niro) comes calling on the man who served as his public defender, Sam Bowden (Nick Nolte). Max begins a campaign of harassment against the man and his family because Bowden buried a report that would have in all likelihood acquitted Cady of the charges against him. Bowden's shaky ethics continue in his personal life as he is considering beginning an extramarital affair with colleague Lori Davis (Illeana Douglas), since he and his wife, Leigh (Jessica Lange) have had a difficult time coming back together since he has admitted to previous indiscretions. Cady infiltrates the family most insidiously by cultivating a relationship with the Bowden's troubled teenage daughte, Danielle (Juliette Lewis), who is all the more susceptible to Cady's advances because of her parents' problems. Robert Mitchum and Gregory Peck, the stars of the original film, have cameo appearances in this version of Cape Fear. De Niro and Lewis were both nominated for Academy Awards for their work in the film. ~ Perry Seibert, Rovi

Steven Spielberg filters J. M. Barrie's Peter Pan through a distinctly 1990s sensibility in Hook. Peter Pan has become Peter Banning (Robin Williams), a 40-year-old mergers and acquisitions lawyer with a permanent scowl on his face and a cellular phone in his belt. Banning has lost any memory of being Peter Pan, and he is also in danger of losing his wife Moira (Caroline Goodall) and two children, Jack (Charlie Korsmo) and Maggie (Amber Scott). Peter and his family travel to London to visit Granny Wendy (Maggie Smith) who recalls Peter's lost youth and asks him, "Peter, dear, don't you know who you are?" With Peter's children asleep in the same bedroom where the original Peter Pan story began, there is a blinding flash. Peter comes into the room to discover a note from Captain Hook (Dustin Hoffman), informing Peter that he has kidnapped his children. Granny Wendy now tells him who he really is and encourages him to re-discover his happy thoughts, transform himself into the Peter Pan of the past, and go rescue his children. With the encouragement of Tinkerbell (Julia Roberts), Peter recalls the birth of his son and once again takes wing. Then it's off to Never Land to rescue his kids. ~ Paul Brenner, Rovi

The final installment in the Back to the Future trilogy picks up where the second film left off, but it casts off the dizzying time travel of the first two films for mostly routine comedy set in the Old West. Marty McFly (Michael J. Fox) receives a 70-year-old letter from his inventor friend, Doc Brown (Christopher Lloyd), who tells Marty that he has retreated a century in time to live out a relatively quiet life in the Old West. Doc Brown reveals that he hid his DeLorean car/time machine in an abandoned mine outside town, and when Marty does some research and discovers that the Doc died shortly after writing the letter, he decides to find the car, travel back in time, and warn the Doc about his demise. Meanwhile, the Doc, who has fallen in love with a local woman (Mary Steenburgen), realizes he can't hide in the past from the problems he has caused to the time flow in the previous two adventures. He reluctantly decides to return to the present with Marty, but first, they have to find a way to get the DeLorean up to time-travel velocity with a broken fuel line and no gasoline. ~ Don Kaye, Rovi