Dvorsky, Peter

Barbarians at the Gate

The 80's... It was a time when everybody was doing the big bucks but f. Ross Johnson CEO of R.J. R. Nabisco has every intention of making a fortune. When Johnson (James Garner) decides to buy out the Nabisco shareholders and take over his company no one is prepared for what hits the fan. Johnson is introduced to the master of the leveraged buyout Henry Kravis (Johnathon Pryce) but afraid of losing the company to this sharp dealer he decides to make his move with Peter Cohen (Peter Riegert). Kravis however is not to be outdone and begins an aggressive campaign of his own. What follows is a down-to-the-wire battle to see who's really king of the Wall Street jungle. They may look like polite well-dressed businessmen but listen hard and you can hear the pounding of BARBARIANS AT THE GATE.Running Time: 107 min.Format: DVD MOVIE Genre: COMEDY UPC: 026359083525 Manufacturer No: 90835

This HBO original comedy, adapted by Larry Gelbart (Tootsie) from the book by Bryan Burrough and John Helyar, concerns one of the most compelling tales of corporate buyout madness in the go-go 1980s. James Garner plays F. Ross Johnson, CEO of RJR Nabisco. Following failed and expensive efforts to sell a smokeless cigarette to the public, Johnson decides that he's had enough of navigating around the wrath of the company's stockholders. Drawing up plans to buy RJR Nabisco outright, he soon finds himself outmatched (though still determined) in a race for the prize with takeover king Henry Kravis (Jonathan Pryce). The ensuing battle is both bitterly funny and full of acid-tinged insights into the '80s greed that changed corporate America forever. Besides Gelbart's great script and Glenn Jordan's competent direction, the star of this exciting film is Garner, who is absolutely wonderful as the gracious Johnson. --Tom Keogh

The Dead Zone (Special Collector's Edition)

The Dead Zone is based on a novel by Stephen King, directed by David Cronenberg (Scanners, The Fly) and produced by Debra Hill (Halloween, The Fog). Such a trio of horror vets would be expected to come up with an evening of shocks and gore, but The Dead Zone is a surprise. While it has great atmospheric eeriness and undeniably scary moments, The Dead Zone is at heart a sensitive and thoughtful portrayal of main character Johnny Smith's dilemma. Christopher Walken, king of the vaguely creepy, plays Smith, a man who awakens from a five-year coma with the very mixed blessing of second sight. At the mere touch of a hand, Smith is unwillingly launched into scenes of past and future terror. (Director Cronenberg is said to have fired blanks from a .357 Magnum just out of camera range to keep Walken's flinching spontaneous.) The Dead Zone wisely takes its time telling the story, and thus allows for some great performances. Walken gives a rich portrayal of the conflicted Smith, and Colleen Dewhurst and Tom Skerritt both do welcome turns in smaller roles. The most fun of all, though, is clearly being had by Martin Sheen, who gives a spirited performance as a complete sleazebag. --Ali Davis

Christopher Walken wakes from a coma due to a car accident only to find he has lost five years of his life and yet gained psychic powers. Foreseeing the future appears to be a 'gift' at first but ends up causing problems...System Requirements:Running Time: 103 MinutesFormat: DVD MOVIE Genre: HORROR Rating: R UPC: 097361183541 Manufacturer No: 118354

Videodrome

Love it or loathe it, David Cronenberg's 1983 horror film Videodrome is a movie to be reckoned with. Inviting extremes of response from disdain (critic Roger Ebert called it "one of the least entertaining films ever made") to academic euphoria, it's the kind of film that is simultaneously sickening and seemingly devoid of humanity, but also blessed with provocative ideas and a compelling subtext of social commentary. Giving yet another powerful and disturbing performance, James Woods stars as the operator of a low-budget cable-TV station who accidentally intercepts a mysterious cable transmission that features the apparent torture and death of women in its programming. He traces the show to its source and discovers a mysterious plot to broadcast a subliminally influential signal into the homes of millions, masterminded by a quasi-religious character named Brian O'Blivion and his overly reverent daughter. Meanwhile Woods is falling under the spell, becoming a victim of video, and losing his grip--both physically and psychologically--on the distinction between reality and television. A potent treatise on the effects of total immersion into our mass-media culture, Videodrome is also (to the delight of Cronenberg's loyal fans) a showcase for obsessions manifested in the tangible world of the flesh. It's a hallucinogenic world in which a television set seems to breathe with a life of its own, and where the body itself can become a VCR repository for disturbing imagery. Featuring bizarre makeup effects by Rick Baker and a daring performance by Deborah Harry (of Blondie fame) as Wood's sadomasochistic girlfriend, Videodrome is pure Cronenberg--unsettling, intelligent, and decidedly not for every taste. --Jeff Shannon

Twins

DeVito and Schwarzenegger as fraternal twin brothers? Hey, why not? This delightful 1988 comedy by Ivan Reitman--about genetically designed twin siblings who discover each other at the age of 35--works out just fine, thanks largely to great chemistry between the two stars. Despite a certain amount of rough action and tension, the film really gets a lift from the palpable innocence Reitman develops, and the female costars (Chloe Webb and Kelly Preston) bring some interesting texture of their own. This is a film that walked the tightrope of a high concept and completely succeeded. To see how easy it is to stumble in a similar situation, check out DeVito and Schwarzenegger in Reitman's Junior. The DVD release has a full-screen presentation, optional French and Spanish soundtracks, optional Spanish subtitles. --Tom Keogh

Videodrome - Criterion Collection

Love it or loathe it, David Cronenberg's 1983 horror film Videodrome is a movie to be reckoned with. Inviting extremes of response from disdain (critic Roger Ebert called it "one of the least entertaining films ever made") to academic euphoria, it's the kind of film that is simultaneously sickening and seemingly devoid of humanity, but also blessed with provocative ideas and a compelling subtext of social commentary. Giving yet another powerful and disturbing performance, James Woods stars as the operator of a low-budget cable-TV station who accidentally intercepts a mysterious cable transmission that features the apparent torture and death of women in its programming. He traces the show to its source and discovers a mysterious plot to broadcast a subliminally influential signal into the homes of millions, masterminded by a quasi-religious character named Brian O'Blivion and his overly reverent daughter. Meanwhile Woods is falling under the spell, becoming a victim of video, and losing his grip--both physically and psychologically--on the distinction between reality and television. A potent treatise on the effects of total immersion into our mass-media culture, Videodrome is also (to the delight of Cronenberg's loyal fans) a showcase for obsessions manifested in the tangible world of the flesh. It's a hallucinogenic world in which a television set seems to breathe with a life of its own, and where the body itself can become a VCR repository for disturbing imagery. Featuring bizarre makeup effects by Rick Baker and a daring performance by Deborah Harry (of Blondie fame) as Wood's sadomasochistic girlfriend, Videodrome is pure Cronenberg--unsettling, intelligent, and decidedly not for every taste. --Jeff Shannon

When Max Renn goes looking for edgy new shows for his sleazy cable TV station, he stumbles across the pirate broadcast of a hyperviolent torture show called "Videodrome." As he unearths the origins of the program, he embarks on a hallucinatory journey into a shadow world of right-wing conspiracies, sadomasochistic sex games, and bodily transformation. Renn's ordinary life dissolves around him, he finds himself at the center of a conflict between opposing factions in the struggle to control the truth behind the radical human future of "the New Flesh." Starring James Woods and Deborah Harry in one of her first film roles, Videodrome is one of writer/director David Cronenberg's most original and provocative works, fusing social commentary with shocking elements of sex and violence. With groundbreaking special effects makeup by Academy Award®-winner Rick Baker, Videodrome has come to be regarded as one of the most influential and mind-bending science fiction films of the 1980s, and The Criterion Collection is proud to present it in its full-length unrated edition.

Millennium

Time-hoppers from the future, led by Cheryl Ladd, are abducting airline passengers about to crash, and transporting them a millennium hence in order to reseed a future blighted by environmental disaster. This is a dangerous business, plagued by the specter of accidentally creating time paradoxes, which could throw the future out of whack. Unfortunately, they've lost a couple of the stunners they use to subdue troublesome passengers, and these fall into the hands of a curious physicist (Daniel J. Travanti) and an investigator for the National Transportation Safety Board (Kris Kristofferson). Cheryl Ladd must retrieve these devices before a time paradox wipes out her world, but manages to complicate things by developing a romance with Kristofferson. All of which is very intriguing, having come from the short story, "Air Raid," by science fiction luminary John Varley, who also is credited with the screenplay. The part about airline abductions to save the disastrous future is straight from the original story, and the rest is expanded (you wouldn't say extrapolated) from it. The results are not very happy. About a third of the film is maddeningly wasted by repeating action from a different point of view. Seems natural when there are disparate timelines to deal with, but here nothing is added by the conceit. Only Travanti turns in a creditable performance as the physicist, bent on proving his theories about the future. He seems hungry for discovery, which is one of the things you want from a science fiction story, that sense of awe. But here it's just, "Aw, shucks!" --Jim Gay

Sword of Gideon

Casual Sex?

Never have the 1980s felt so painfully time-warped. This 1988 movie, which was directed by Geneviève Roberts and adapted by Wendy Goldman and Judy Toll from their stage play, is proof as to why we've rarely heard their names again. Casual Sex? is an oxymoron of a title that chronicles the plight of two best-friends-since-childhood who are suffering from celibacy in the AIDS-addled '80s. One, Stacy (Lea Thompson), misses the easy promiscuity of the past though she longs for a guy who is a true friend. Melissa (Victoria Jackson from Saturday Night Live) has only had sex with two men--the second of whom was her fiancé, and she longs for her first orgasm. When they decide to take a holiday to the Oasis Spa in order to find some nice guys, they have little notion that they're about to find the wrong Mr. Right(s). Combine the tired premise with some asides to the screen (that probably worked better on stage) and a couple of role-playing fantasies, and Casual Sex? is proof that a movie on this topic might be written by women, but it still might not have anything new or groundbreaking to reveal. Casual Sex? ultimately pairs one of its protagonists with comic Andrew Dice Clay, who plays a Jersey thug named "The Vin Man," and it's embarrassing to watch him mug his way through the film. With such lines as "You and I have more in common now that we're both afraid of sex" and "Not being attracted to anybody scares me more than AIDS," viewers will wonder if these two have a brain in their heads at all. They ultimately come across as less than enlightened about sex and love and seem--along with the movie itself--more than a little desperate. --Paula Nechak

The Dead Zone

The Dead Zone is based on a novel by Stephen King, directed by David Cronenberg (Scanners, The Fly) and produced by Debra Hill (Halloween, The Fog). Such a trio of horror vets would be expected to come up with an evening of shocks and gore, but The Dead Zone is a surprise. While it has great atmospheric eeriness and undeniably scary moments, The Dead Zone is at heart a sensitive and thoughtful portrayal of main character Johnny Smith's dilemma. Christopher Walken, king of the vaguely creepy, plays Smith, a man who awakens from a five-year coma with the very mixed blessing of second sight. At the mere touch of a hand, Smith is unwillingly launched into scenes of past and future terror. (Director Cronenberg is said to have fired blanks from a .357 Magnum just out of camera range to keep Walken's flinching spontaneous.) The Dead Zone wisely takes its time telling the story, and thus allows for some great performances. Walken gives a rich portrayal of the conflicted Smith, and Colleen Dewhurst and Tom Skerritt both do welcome turns in smaller roles. The most fun of all, though, is clearly being had by Martin Sheen, who gives a spirited performance as a complete sleazebag. --Ali Davis

Millennium

Time-hoppers from the future, led by Cheryl Ladd, are abducting airline passengers about to crash, and transporting them a millennium hence in order to reseed a future blighted by environmental disaster. This is a dangerous business, plagued by the specter of accidentally creating time paradoxes, which could throw the future out of whack. Unfortunately, they've lost a couple of the stunners they use to subdue troublesome passengers, and these fall into the hands of a curious physicist (Daniel J. Travanti) and an investigator for the National Transportation Safety Board (Kris Kristofferson). Cheryl Ladd must retrieve these devices before a time paradox wipes out her world, but manages to complicate things by developing a romance with Kristofferson. All of which is very intriguing, having come from the short story, "Air Raid," by science fiction luminary John Varley, who also is credited with the screenplay. The part about airline abductions to save the disastrous future is straight from the original story, and the rest is expanded (you wouldn't say extrapolated) from it. The results are not very happy. About a third of the film is maddeningly wasted by repeating action from a different point of view. Seems natural when there are disparate timelines to deal with, but here nothing is added by the conceit. Only Travanti turns in a creditable performance as the physicist, bent on proving his theories about the future. He seems hungry for discovery, which is one of the things you want from a science fiction story, that sense of awe. But here it's just, "Aw, shucks!" --Jim Gay