Marc Rocco Movies

A troubled war veteran tries to unlock his memories of a terrible crime in this stylish thriller, the first American project for British filmmaker John Maybury. In 1991, Jack Starks (Adrien Brody) was an American soldier serving in the Persian Gulf when he was shot in the head; pronounced dead by a field surgeon, Starks somehow returned to life, though with no small number of psychological problems to show for his troubles. A year later, Starks is walking through the snowy Vermont wilderness when he discovers a woman whose truck has broken down, Jean (Kelly Lynch). Starks tries to help Jean and her young daughter, and later flags down a car for a ride into town; however, the car is being driven by a criminal on the run from the police (Brad Renfro), and not long after the car is cornered by police, Starks' memory goes blank. When he comes to, Jack is accused of killing a patrolman in the violent standoff that followed, and is told the woman, her daughter, and the criminal existed only in his imagination. Declared insane in his murder trial, Starks is sentenced to a mental institution run by Dr. Becker (Kris Kristofferson), who seems to believe that the more brutal the treatment, the better. As Starks suffers frequent beatings and long spells in a frozen locker, his mind drifts from his harrowing past into the future, where he visits with Jackie (Keira Knightley), who once was the young girl Starks tried to help. The Jacket also features Jennifer Jason Leigh as Dr. Lorenson, a compassionate doctor who tries to help Starks and his fellow patients. ~ Mark Deming, All Movie Guide

It's the old switcheroo in this action comedy that follows the exploits of desperate extortionists. Gloria is a fluffhead with a Chinese dragon tattooed upon her chest. She wears lovely holograph earrings that just happen to contain classified detail of the U.S. space program. She is taken hostage by the bumbling extortionists and their leader Carl, former head of a freezer treat company. Unfortunately for them, Gloria accidently drowns in their pool when she tangles with a beach ball. Now the crooks must find a look-a-like for Gloria. They find her in Teresa, a college girl with a talent for mathematics. She is captured and tattooed. She soon escapes leading the crooks on a merry chase. Joining in the hunt for Teresa is an FBI agent and her new boyfriend. ~ Sandra Brennan, All Movie Guide

In 1987-88, a quartet of films with the same basic body-switching premise deluged theaters: Like Father, Like Son (1987), Big (1988), Vice Versa (1988), and 18 Again (1988). One year later, Dream a Little Dream (1989) followed suit. Coleman Ettinger (Jason Robards) is forever scolding the local high school students who use his yard as a shortcut to and from their nearby school. Coleman is not a crotchety old coot, however. He's deeply in love with his wife Gena (Piper Laurie) and is good friends with his next-door neighbor Ike (Harry Dean Stanton). In fact, Coleman is looking for a mystical way to preserve his and Gena's lives forever by transferring their consciousness into the bodies of younger people. One day, student Bobby Keller (Corey Feldman) has a bicycle mishap with Coleman while cutting through the yard, and their minds change places. Now Coleman has the brain of a teenager, while young Bobby uses Coleman's wisdom and life experience to win over the girl of his dreams. Dream a Little Dream was the directorial debut of Marc Rocco, son of actor Alex Rocco, who costars in a supporting role. ~ Karl Williams, All Movie Guide

Adapted from Paul Brodeur's novel, Richard Rush's story of a Machiavellian movie director and his accidental employee takes a darkly comic look at movie reality vs. "real" reality. Running from the law, Vietnam vet Cameron (Steve Railsback) stumbles on a movie shoot just in time to interfere with a staged accident, causing (perhaps) the stunt man's death. Rather than turn Cameron in, director Eli Cross (Oscar nominee Peter O'Toole) makes him an offer he can't refuse: replace the dead stunt man in return for safe harbor. Despite objections about Cameron's inexperience, Eli keeps him on, figuring that a vet will add an extra charge of realism to the World War I opus that he's filming. As leading lady Nina (Barbara Hershey) returns Cameron's affections, and Eli becomes ever more inscrutably mercurial, Cameron begins to wonder how far Eli will go to get the screen effects he wants, and if he would think twice about killing the stunt man. Placing a Vietnam vet in the midst of movie-making chaos, Rush adds a pointedly contemporary spin to Cameron's confusion; the war experience that makes Cameron a good stunt man wreaks havoc on his life. Rush in turn disorients the audience by seamlessly interweaving scenes from Eli's movie with scenes of its being made. Made two years before Rush found a studio to release it, The Stunt Man opened to raves for its wily narrative and O'Toole's messianic director. Its sly commentary on the blurred boundaries between movies and life became all the more striking at the dawn of the Reagan '80s. ~ Lucia Bozzola, All Movie Guide