Chris Zarpas Movies

As co-directed by Joe Wiecha and Tom Naughton, this historically-charged documentary plunges into an unusual series of military events that involved the anti-terrorist squad known as the Royal Dutch Marines (RDM). In the crisis in question, the RDM was faced with a nightmare that erupted when South Moluccan terrorists assumed control of not one but two targets, concurrently - a primary school full of children and a commuter train loaded with passengers - making them doubly difficult to stop. Naughton and Wiecha recount this horrifying yet gripping story, fixing a keen eye on the details. ~ Nathan Southern, Rovi

In the early 1990s, at the height of the Persian Gulf War, a cadre of British SAS commandos received orders to risk their safety and their lives by infiltrating Iraq, and locating and dismantling a network of mobile scud missile launchers. Terrifyingly, they wound up behind enemy lines, ensnared by the myopia of poor government intelligence and forced to contend with one another and the disadvantageous situation for survival. In the documentary release Special Forces: Untold Stories: The British SAS - Attack in the Desert, director Tom Naughton relays this suspenseful and seldom-heard story of military life on the edge. ~ Nathan Southern, Rovi

When RKO Pictures began work on production number 281, no one could have imagined that they were making perhaps the greatest American film of all time. But the moment Orson Welles (played by Liev Schreiber) announced that he intended to make a film based on the life of tyranical multi-millionaire publisher William Randolph Hearst (James Cromwell), they knew that they had trouble on their hands. Welles, the enfant terrible of American theater and a household name thanks to his infamous radio adaptation of H.G. Wells's "The War Of The Worlds," was signed to direct films for RKO, and he was given an unusually free hand to make whatever sort of film he wanted. But what Welles didn't count on was the power of Hearst to keep his film from being seen. RKO 281 is based on the true story of the making of Citizen Kane and the war of words between Welles and Hearst. It also stars Melanie Griffith as Hearst's mistress Marion Davies, John Malkovich as screenwriter Herman Mankiewicz, Brenda Blethyn as Hearst's movie columnist Louella Parsons, and Roy Scheider as George Schaefer. ~ Mark Deming, Rovi

Ridley Scott directed this flawed but involving study of Lt. Jordan O'Neil (Demi Moore), a Navy topographic analyst who is chosen as a test case for the presence of women in combat. Aware that she is making history and knowing that 60% of all male trainees will fail the rigorous training, Lt. O'Neil struggles to prove herself physically and mentally worthy of becoming a Navy SEAL. What she doesn't know is that she is being sold out by hardbitten Texas senator Lillian DeHaven (Anne Bancroft in an amusing turn), who is being blackmailed by the Defense Department with politically fatal base closings unless O'Neil fails the program. The complicated political subplot, however, only distracts from the film's real virtues -- the wonderfully staged scenes of CRT selection training -- and fizzles at its climactic moment. The training scenes are wonderful, however, as the central recruits are pushed to their physical limits by a grueling weeding-out process. Viggo Mortensen is outstanding as Master Chief John James Urgayle, a steely-eyed, tough-as-nails instructor who somehow finds time to quote D.H. Lawrence when he isn't making people eat garbage and beating O'Neil senseless as part of a training exercise. Mortensen and the believably-buffed Moore are terrific, and their scenes of confrontation are the film's high points. Unfortunately, the screenplay by David Twohy and Danielle Alexandra falls down every time it attempts to sidestep a cliche, and the climactic mission (involving a downed satellite in the Libyan desert) positively wallows in a predictable Top Gun muddle. Still, the characters are engaging and those looking for an enjoyable variant on the basic-training subgenre of high-octane modern action films should be pleased. ~ Robert Firsching, Rovi

In this lively comedy, an African American yuppie rethinks life on the corporate fast-track after he falls in love with an ultra hip club promoter. Knowing that she finds him a total square, he seeks the advice of a swinging young mail boy. ~ Sandra Brennan, Rovi

Orson Welles first feature film -- which he directed, produced, and co-wrote, as well as playing the title role -- proved to be his most important and influential work, a ground-breaking drama loosely based on the life of William Randolph Hearst which is frequently cited as the finest American film ever made. Aging newspaper magnate Charles Foster Kane (Orson Welles) dies in his sprawling Florida estate after uttering a single, enigmatic final word -- "Rosebud" -- and newsreel producer Rawlston (Phil Van Zandt) sends reporter Jerry Thompson (William Alland) out with the assignment of uncovering the meaning behind the great man's dying thought. As Thompson interviews Kane's friends, family, and associates, we learn the facts of Kane's eventful and ultimately tragic life: his abandonment by his parents (Agnes Moorehead and Harry Shannon) after he becomes the heir to a silver mine; his angry conflicts with his guardian, master financier Walter Parks Thatcher (George Coulouris); his impulsive decision that "it would be fun to run a newspaper" with the help of school chum Jedediah Leland (Joseph Cotten) and loyal assistant Mr. Bernstein (Everett Sloane); his rise from scandal sheet publisher to the owner of America's largest and most influential newspaper chain; his marriage to socially prominent Emily Norton (Ruth Warrick), whose uncle is the President of the United States; Kane's ambitious bid for public office, which is dashed along with his marriage when his opponent, corrupt political boss Jim Gettys (Ray Collins), reveals that Kane is having an affair with aspiring vocalist Susan Alexander (Dorothy Comingore); Kane's vain attempts to promote second wife Alexander as an opera star; and his final, self-imposed exile to a massive and never-completed pleasure palace called Xanadu. While Citizen Kane was a film full of distinguished debuts -- along with Welles, it was the first feature for Joseph Cotten, Everett Sloane, Ray Collins, Agnes Moorehead, and Ruth Warrick -- the only Academy Award it received was for Best Original Screenplay, for which Welles shared credit with veteran screenwriter Herman Mankiewicz. ~ Mark Deming, Rovi