Peter Dobson Movies

Producer/writer/director and stepbrother to Elvis Presley, D. Edward Stanley relays just what it was like to protect the King of Rock and Roll in an intensely personal biography that offers rare personal insight into one of the music world's most revered figures. Stanley was only sixteen at the time he went to work for The King, yet in his experiences the teen would learn more about the way the world works than he would have in any classroom. Of course the highs were just as intense as the lows, and from the sex to the drugs and the violence, this is one story that is simply too strange to be fiction. ~ Jason Buchanan, Rovi

Dentist Gus Sugarman is stabbed in the back of the head by a screwdriver while sitting in a crowded movie theater. Grissom (William L. Petersen) and Catherine (Marg Helgenberger) follow up two possibilities: that the killing was committed by an elusive red-headed woman and that Sugarman was not the intended victim. Elsewhere, the other CSI agents are stymied by the reams of contradictory evidence attending the death of teenager Timmy McCallum, whose badly beaten and bullet-ridden body was found in a warehouse where 100 rounds of ammunition were fired from every conceivable angle. ~ Hal Erickson, Rovi

A tightly-knit foursome of lifelong friends and unrepentant gamblers wage more than money in a winner-takes-all tale of epic proportions from director Mars Callahan. David Zigman (Jason Priestly) always manages to come through and beat the house at the last minute, but when he and his three pals risk it all in the name of one priceless thrill, they may have finally gone too far. Now, as each man pulls his hand close to his chest for one final go at the gold, these friends will finally find out what's thicker these four friends will finally find out where their love, loyalty, and honor truly lies. ~ Jason Buchanan, Rovi

This off-beat urban anthology offers four different views of the mayhem and destruction that came from the 1992 Los Angeles riots. The first vignette "Gold Mountain," directed by Galen Yuen, centers on a struggle between a traditional-minded Chinese storekeeper and his increasingly uncontrollable son, who is assimilating rapidly into American ghetto life. Their relationship explodes as their store is looted during the riot. Alex Munoz's "Caught in the Fever," featuring a screenplay by the late Joe Vasquez, follows the corruption of a basically good Latino couple who get caught up in the riot's hysteria and set aside their values participate in the chaos. In "Empty" an Anglo policeman finds himself in the center of the riot alone and surrounded by angry youths who force him to take desperate measures. The final vignette, "Homecoming Day" centers upon a black man who managed to escape South Central and forge a better life for himself and his wife. The day the verdict for the Rodney King trial was announced, he goes back to the old neighborhood to see his mother, not realizing that the place will soon become a maelstrom of hatred and violence. In making this anthology, the four filmmakers created continuity by having characters from each film occasionally appear in the background of the other films. They also all utilized the same cinematographer, editor and basic crew. ~ Sandra Brennan, Rovi

In this suspenseful drama, a cozy second honeymoon turns into a nightmare when a compassionate young couple saves a lost hunter from freezing to death. Eric and Alicia's ordeal began months before when Eric was shot in the stomach during a car-jacking. Loyal Alicia helped with every step of his four-month-long recovery. As soon as he is sufficiently healed, the two head to the mountains for their long-awaited vacation. No sooner are they settled in before a cozy blaze when the door knocks and Cale, the lost hunter stands before them. The next morning, Eric goes to his truck so he can take Cale to the hospital, but the truck won't start. Suspiciously, Alicia rifles through Cales's belongings and discovers he carries no identification. Alarmed, the couple copes with the situation as best they can. Matters get worse when Cale makes it clear that he wants Alicia and considers Eric expendable. ~ Sandra Brennan, Rovi

Originally made for cable television, this imaginative biopic chronicles the life of Marilyn Monroe (Mira Sorvino), including the years before she changed her name from Norma Jean Baker (Ashley Judd) and was transformed into the screen persona that made her a legendary sex symbol. The movie employs unconventional, dream-like storytelling techniques in which Marilyn and her former self, Norma Jean, frequently appear in scenes together, with Norma Jean often taunting Marilyn for not living up to her earlier aspirations. Many facets of Monroe's life are examined, including her childhood and adolescence when Norma Jean had to live with foster families because of her mother's psychological problems. In addition to referencing Monroe's work on such films as Gentlemen Prefer Blondes (1953), The Seven Year Itch (1955), and Some Like It Hot (1959), the movie explores her marriages to baseball great Joe DiMaggio (Peter Dobson) and famous playwright Arthur Miller (David Dukes), and her romances, including her purported relationship with U.S. President John F. Kennedy (Steven Culp). The film also offers a hard-hitting look at Monroe's struggle with drug- and alcohol-dependency. ~ Rovi

"Stupid is as stupid does," says Forrest Gump (played by Tom Hanks in an Oscar-winning performance) as he discusses his relative level of intelligence with a stranger while waiting for a bus. Despite his sub-normal IQ, Gump leads a truly charmed life, with a ringside seat for many of the most memorable events of the second half of the 20th century. Entirely without trying, Forrest teaches Elvis Presley to dance, becomes a football star, meets John F. Kennedy, serves with honor in Vietnam, meets Lyndon Johnson, speaks at an anti-war rally at the Washington Monument, hangs out with the Yippies, defeats the Chinese national team in table tennis, meets Richard Nixon, discovers the break-in at the Watergate, opens a profitable shrimping business, becomes an original investor in Apple Computers, and decides to run back and forth across the country for several years. Meanwhile, as the remarkable parade of his life goes by, Forrest never forgets Jenny (Robin Wright Penn), the girl he loved as a boy, who makes her own journey through the turbulence of the 1960s and 1970s that is far more troubled than the path Forrest happens upon. Featured alongside Tom Hanks are Sally Field as Forrest's mother; Gary Sinise as his commanding officer in Vietnam; Mykelti Williamson as his ill-fated Army buddy who is familiar with every recipe that involves shrimp; and the special effects artists whose digital magic place Forrest amidst a remarkable array of historical events and people. ~ Mark Deming, Rovi

This confusing but enjoyably weird film stars Drew Barrymore (still toying with her good girl/bad girl image) as Holly Gooding, a young woman who apparently stabs her mother to death in New York then shows up on the doorstep of young L.A. screenwriter Patrick (George Newbern), in response to his ad for a prospective roommate. Despite his attraction to her, Patrick is increasingly bewildered by the appearance of Holly's apparent double, whose existence she neither confirms nor denies. At the same time, Holly is tormented by recurring visions of her mother's death and the persistent snooping of an FBI agent. When Patrick becomes convinced that Holly is being pursued by her own evil twin, he learns from ex-nun and phone-sex operator Sister Jan (Sally Kellerman) that the deadly double is Holly's "doppleganger," a supernatural creature which haunts a human being after assuming that person's shape. One plot twist follows another before unraveling completely in a ridiculously contrived double-surprise climax. This film does boast good performances and manages to avoid most standard low-budget horror conventions -- that is, until the last five minutes, wherein its cleverness is derailed by plot holes large enough to fly a zeppelin through. ~ Cavett Binion, Rovi

When a district attorney starts an investigation into corruption that leads her back to her own family--rife with police officers--she finds some decisions hard to make. ~ Tana Hobart, Rovi

Neil Simon forgoes his typical urban East Coast kvetchers and replaces them with sunny Californian kvetchers in The Marrying Man, a film which became a beacon of gossip in 1991 due to the alleged shenanigans of stars Alec Baldwin and Kim Basinger, who fell in love during production. Simon based his script on a true story concerning the love affair between shoe tycoon Harry Karl and actress Marie (The Body) McDonald during the 1950s. Married to each other four times, McDonald still managed to carry on an affair with mobster Bugsy Siegel. In this Simon-ized version, Baldwin plays Charley Pearl, a sharp and handsome Hollywood millionaire, engaged to Adele Horner (Elisabeth Shue), the daughter of dyspeptic movie studio executive Lew Horner (Robert Loggia). The day before their wedding, Charley heads off to Las Vegas for a bachelor party, and in a sleazy casino on the outskirts of town, he sets his eyes on sexy singer Vicki Anderson (Basinger) and falls for her hard. He wants her immediately and even though she warns him she's the property of Bugsy Siegel (Armand Assante), he crawls into her bedroom window to be with her. Caught with his pants down by Siegel, Bugsy, instead of killing him, forces him to marry Vicki ("I was about to dump her anyway," he says). But after their marriage, Charley and Vicki discover they're more attracted to the danger of their relationship than in each other. Charley's friends -- Phil (Paul Reiser), Sammy (Fisher Stevens), Tony (Peter Dobson), and George (Steve Hytner) -- form a Greek chorus commenting on the crazed love affair and are reportedly inspired by Phil Silvers, Sammy Cahn, Tony Martin, and Leo Durocher. ~ Paul Brenner, Rovi

Hubert Selby's controversial 1964 cult novel Last Exit To Brooklyn is adapted to the big screen by director Ulrich Edel in this drama. The story is set in the early 1950s in Red Hook, Brooklyn, a blighted waterfront town of boarded-up storefronts and striking factory workers. Harry Black (Stephen Lang), a machinist put in charge of the local union strike office, suddenly finds himself one of the most important men in town. But for all his sudden power, there's something disturbing Harry. He rejects his wife's caresses and discovers himself infatuated with a frail young man who calls himself Georgette (Alexis Arquette), who has a crush on well-muscled hood Vinnie (Peter Dobson). But Harry doesn't confront his problem head-on until he falls head-over-heels in love with Regina (Zette), a local transvestite. As the strike becomes more intense, Harry sinks deeper into an obsessive affair with Regina, using the strike fund to shower him/her with personal gifts. As Harry sinks into obsession, other characters float through the decaying streets. There's the attractive prostitute Tralala (Jennifer Jason Leigh) who falls in love with a sailor about to be shipped overseas. There is also an agreeable young man named Tommy (John Costelloe) who is beaten by his soon-to-be father-in-law Big Joe (Burt Young) for making his daughter Donna (Ricki Lake) pregnant. Everything comes to a tragic conclusion as the workers' strike escalates into a violent confrontation. ~ Paul Brenner, Rovi

Producer/director Michael Mann, kappelmeister of the trendy TV series Miami Vice, tried to impose his MTV mentality on Tinseltown with L.A. Takedown. Los Angeles cop Scott Plank is on the trail of master thief Alex McArthur. After McArthur pulls off "the score of a lifetime," the crook and the cop spend the rest of their screen time in a deadly game of one-upsmanship. The usual Michael Mann trademark of style over substance prevails throughout L.A. Takedown. But the vogue had passed, and this TV pilot film failed to graduate into a series. ~ Hal Erickson, Rovi