Roddam, Franc

K2

Michael Biehn plays a Seattle attorney who talks his friend, a physics instructor (Matt Craven), into joining a party with plans to climb the tallest and least accessible mountain in the world, K-2. Biehn's arrogant character immediately bumps noggins with the tour's leader (Raymond J. Barry) and the latter's strong-willed girlfriend (Patricia Charbonneau). But when various disasters begin to strike at the group, cooperation ensues, followed by assorted acts of heroism, friendship, and self-sacrifice under almost unimaginable conditions of lethal distress. Based on a play that examined the view on human values from a perch far above the world most of us know, K-2 surrounds that essential drama with extraordinary location footage. Director Franc Roddam (Quadrophenia) succeeds very well at turning a thoughtful piece into a fine action movie--and vice versa. --Tom Keogh

The Lords of Discipline

Many who have vivid memories of this 1982 dramatic thriller about racism, hazing, and heroism at a hallowed Southern military academy will delight in its DVD release. The Lords of Discipline was based on Pat Conroy's semi-autobiographical novel about his days attending the famous Citadel in Charleston, South Carolina. The film is set at the fictionalized Carolina Military Institute (and shot on locations in England) in 1964 where freshmen are customarily put through hazing rituals that may have been routine at the time, but seem positively brutal today. During Will McClean's (David Keith) senior year, a black cadet is being admitted for the first time. Will's military faculty mentor (an already grizzled Robert Prosky) charges him with making sure things don't get too out of hand with this new situation and the inevitable initiation rituals. The black cadet certainly has his horrifying tribulations, but there's also a geeky white plebe who may be in bigger trouble. During Will's awakening to the deeper, darker goings on, he discovers a secret society under the hand of the commandant (the great G.D. Spradlin) that carries out more than just hazing rituals when it deems necessary. The suspense, sense of time and place, and array of superb performances are all ample reasons to recommend The Lords of Discipline as a classic keeper or a casual view. David Keith gives a strong performance as the conflicted upper-class cadet. His strong jaw and gentle drawl was coming off a strong supporting role in An Officer and a Gentleman and he went on to several more interesting starring roles before petering out as a leading man. In fact, the cast is pretty great all around, including solid, young-buck turns by Michael Biehn (The Terminator, Aliens) and a familiar face credited as "Wild Bill" Paxton who went on to be not so wild in One False Move, Twister, Titanic, and many others. --Ted Fry

The year is 1964 and Carolina Military Institute has admitted, for the first time, a young black man into its freshman class. Will McClean (Keith) is asked to protect him from The Ten - a secret society of cadets dedicated to eliminating from the school those it deems "unfit."

Cleopatra

The chemistry between Leonor Varela, who stars as the bewitching queen Cleopatra, and Billy Zane, as the steadfast Marc Antony, is undeniable. Their love scene is one of the steamiest to hit network television. However, once you move beyond this couple's sexual energy, the movie tends to droop, leaning toward the lackluster.

The tale of Cleopatra has hit the screen in many guises, but none have succeeded as well as Cecil B. DeMille's 1934 film. Here, director Franc Roddam tries once again to tell the story of the exotic queen who won the hearts of both Julius Caesar (Timothy Dalton) and Antony, while reigning over a troubled country. But how do you tell such an epic in a mere 140 minutes? Obviously, much is left out, making this film more worthwhile as a pleasant diversion than a real history lesson. The sets are quite remarkable for a TV movie, but unfortunately, the acting and dialogue leave something to be desired. Cleopatra comes across as a bratty child rather than an intelligent and manipulative seductress. Surely this tremendous queen had more going on in her life than her romances with Romans, but you wouldn't know it from this movie. Zane is the best part of the film, although his constant do-good boyishness can grate. Dalton is adequate as Caesar, although he seems to have a hard time taking the role seriously. Yet, for all its flaws, the action moves swiftly and while the battle scenes may leave you cringing with embarrassment for the director, the rest of this carefully staged piece is beautiful to look at. If you really want to know about the Queen of the Nile, though, you may be better off with A&E's Biography: Cleopatra or the Intimate Portrait: Cleopatra. --Jenny Brown

Quadrophenia (Special Edition)

Franc Roddam's terrifically energetic movie, set to music from the Who's Quadrophenia, is--at the very least, the best film ever based on a rock album (and, yes, that includes, Tommy, Pink Floyd: The Wall, and Jesus Christ Superstar). Actually, this tale of the battle between two early '60s youth subcultures--Mods and Rockers--in the seaside teenage wasteland of Brighton, England, isn't so much a cinematic "version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. Quadrophenia is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock (The Who themselves were once rather Mod). The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. --Jim Emerson

Moby Dick

Patrick Stewart makes his entrance late into this telefilm, stringy hair hanging from under his three-cornered hat, his peg leg tapping out his arrival on deck. This Captain Ahab is a hard, driven man--you can see it in his burning eyes--and there's no question he has the resolve and the mad devotion to complete his quest at all costs: kill the white whale that took his leg. Franc Roddam's mini-series adaptation of Herman Melville's classic novel (filmed previously by John Huston in 1956) manages its budget wisely: a judicious use of digital effects creates a terrifying vision of the great white whale, and Roddam's eye captures a near-epic quality. Henry Thomas's earnest performance as the young seaman Ishmael can't compete with Stewart's intensity, and Gregory Peck's cameo as Father Mapple is a hollow echo of his passionate Ahab from Huston's masterpiece. But the rest of the cast excels, and Roddam's haunting imagery and horrific climax make this a compelling dramatic adventure. --Sean Axmaker

The Bride

Hallmark TV Classics Collection II (Arabian Nights/Jason and the Argonauts/The Lost Empire/Moby Dick/The Odyssey)

Aria

This omnibus directors fest brings together 10 different filmmakers making 10 different films based on operatic arias. Jean-Luc Godard is stylistically the boldest, Robert Altman possibly the most imaginative, Franc Roddam celebrates American glitz, and Bruce Beresford is the most sentimental. Nearly all the other filmmakers involved--including Nicolas Roeg, Ken Russell, Julien Temple, Charles Sturridge, Derek Jarman, and Bill Bryden--are (or were, in the case of the late Jarman) world-class talents, but you wouldn't know that from their murky participation here. --Tom Keogh

Ten great directors, one unforgettable film. Imagine that ten of the world's most well-known, highly regarded filmmakers were given a free hand to make real any vision. "Aria" is that history-making film. Sexy, violent, thought-provoking and funny, here is the movie critics raved about, audiences flocked to see, and no one could stop talking about. Includes Bridget Fonda's electrifyingly erotic film debut and a revealing, breathtaking performance by supermodel Elizabeth Hurley. Segments directed by Robert Altman, Bruce Beresford, Bill Bryden, Jean-Luc Godard, Derek Jarman, Franc Roddam, Nicolas Roeg, Ken Russell, Charles Sturridge, Julien Temple.

Quadrophenia [Region 2]

Franc Roddam's terrifically energetic movie, set to music from the Who's Quadrophenia, is--at the very least, the best film ever based on a rock album (and, yes, that includes, Tommy, Pink Floyd: The Wall, and Jesus Christ Superstar). Actually, this tale of the battle between two early '60s youth subcultures--Mods and Rockers--in the seaside teenage wasteland of Brighton, England, isn't so much a cinematic "version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. Quadrophenia is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock (The Who themselves were once rather Mod). The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. --Jim Emerson

Aria

This omnibus directors fest brings together 10 different filmmakers making 10 different films based on operatic arias. Jean-Luc Godard is stylistically the boldest, Robert Altman possibly the most imaginative, Franc Roddam celebrates American glitz, and Bruce Beresford is the most sentimental. Nearly all the other filmmakers involved--including Nicolas Roeg, Ken Russell, Julien Temple, Charles Sturridge, Derek Jarman, and Bill Bryden--are (or were, in the case of the late Jarman) world-class talents, but you wouldn't know that from their murky participation here. --Tom Keogh

Ten of the world's greatest directors produce one unforgettable film in this sumptuous visual and musical feast based on the most famous arias in the history of opera. Erotic, violent, thought-provoking, funny, and moving, this critically-hailed milestone features the electrifyingly erotic film debut of Briget Fonda, a revealing appearance by supermodel Elizabeth Hurley (Austin Powers), and unforgettable performances from John Hurt (Harry Potter and the Sorcerer's Stone), Tilda Swinton (The Deep End), Beverly D'Angelo (Vacation), Theresa Russell (Wild Things), and many more! Segments directed by Robert Altman (Gosford Park), Bruce Beresford (Double Jeopardy), Bill Bryden, Jean-Luc Godard (Contempt), Derek Jarman (Edward II), Franc Roddam (Quadrophenia), Nicolas Roeg (Performance), Ken Russell (Tommy), Charles Sturridge (Longitude), Julien Temple (The Filth and the Fury).