Robert Demeger Movies

In this tribute to the man considered by many to be the father of the science fiction genre, a reporter interviewing author H.G. Wells makes a startling revelation that could forever change mankind's relationship with the universe. Upon arriving at Wells' London home on a fog enshrouded evening in 1946, newspaper reporter Ellen McGillivray is regaled with tales of time travel dating back to Wells' days at London's Imperial College of Science. It seems that Wells and colleague Jane Robbins stumbled across a previously undiscovered rift in time during a series of midnight experiments, and though the pair swore to keep the discovery a secret, the experience forever bonded the adventurous scientists. When Ellen accepts Wells' outlandish tales at face value, his shock at her lack of disbelief is countered by the revelation that she is an underground government agent posing as a reporter in hopes of discovering the secrets of a crystal orb rumored to hold the secrets of the entire universe. ~ Jason Buchanan, Rovi

Based on the true story of Graham Young, a young British psychopath of the early 1960s, this is the offbeat feature film debut of writer-director Benjamin Ross. Hugh O'Conor plays Young, who narrates the story in a sullen voice-over. He is an isolated, studious young adolescent who is increasingly absorbed in his chemical research projects and estranged from his annoying family. After his greatest experiment blows up, he seeks revenge on his stepmother, who has falsely accused him of hiding pornographic magazines. The boy poisons her chocolates and then his sister's eye drops, partially blinding her. He next poisons his stepmother's stomach medicine. Graham lets her discover the notebook in which he has documented his work, but she can no longer speak, and she dies unable to communicate the truth. Young then starts to poison his father -- but lets himself be discovered and is sent to an insane asylum. There, he is befriended by a psychologist, Dr. Ziegler (Anthony Sher), an optimist who hopes for a recovery by exploring Young's dreams. ~ Michael Betzold, Rovi

Independent filmmaker Sally Potter's gender-bending epic, which views four centuries of sexual politics through the eyes of a sex-switching main character, is based on the 1928 novel by Virginia Woolf. The androgynous title character is played with delicate quietude by Tilda Swinton. The story begins during the reign of the aging Queen Elizabeth I (Quentin Crisp, in a droll turn recalling his The Naked Civil Servant). Queen Elizabeth takes a shine to the attractive young Orlando and seeks out his sexual favors. In return, Elizabeth grants him a large estate, commanding him, "Do not fade, do not wither, do not grow old." Orlando takes the queen at her word and doesn't. When Elizabeth dies, Orlando becomes attracted to Sasha (Charlotte Valandrey), the daughter of a Russian diplomat, but she rebuffs his advances. Crushed, Orlando accepts an ambassadorship to Constantinople. After witnessing the killing of a man in battle, Orlando undergoes a change of sex, becoming a woman and returning to England, where she hobnobs with 18th-century geniuses like Jonathan Swift, Alexander Pope, and John Addison. Walking through a garden labyrinth, the time frame shifts to the 19th century, and Orlando falls in love with a handsome American (Billy Zane). Now in the 20th century, Orlando gives birth to his child and continues on. ~ Paul Brenner, Rovi

Little Dorrit was intended as the cinematic equivalent to the mammoth, eight-hour Royal Shakespeare Company's staging of Charles Dickens' Nicholas Nickelby. The film was released to theaters in two parts, each running approximately three hours. The first part, subtitled "Nobody's Fault," introduced us to the seamstress title character (Sarah Pickering), who chooses to live in debtor's prison with her father (Alec Guinness). Good Samaritan Arthur Clennam (Derek Jacobi) endeavors to help both father and daughter. The second part, also known as "Little Dorrit's Story," details Dorrit's escape from penury to lasting happiness. Eschewing the usual 19th century-style British music often heard in Dickensian adaptations, director Christine Edzard creatively -- and effectively -- opts for the strains of Giuseppe Verdi. Edzard's eye for period detail is also deserving of unbounded praise. Unfortunately, part two of Little Dorrit spends nearly half of its running time recapping part one, utilizing much of the same footage. For those familiar with "Nobody's Fault," "Little Dorrit's Story" is more a redundancy than a continuation. Still, taken together, parts one and two all fully deserving of the enthusiastic critical commentary that greeted them upon their original release -- not to mention the multiple Academy Award nominations bestowed upon the project and its participants. ~ Hal Erickson, Rovi