Vernon Dobtcheff Movies

In this tedious and excessively complicated thriller, a cop (Patrick Bruel) who has been sent to investigate the corruption in a small French town, encounters a mysterious rival (Jacques Dutronc), who is trying on his own to investigate the murder of his father. Michel Deville demonstrates a whole set of movie cliches -- quite surprising for a director of his level -- but the biggest surprise is the lifeless and world-weary performance from Dutronc. ~ Yuri German, Rovi

A lusty executive for a high-tech company tries to juggle his life between two disparate wives and his mistress. He is also in the Army Reserves and it is while serving his annual two weeks that he gets into big trouble. Actually, he is not actually serving; instead, he convinced his buddy to pretend to be him and go in his stead. The problems begin when the stand-in is arrested for being a spy. ~ Sandra Brennan, Rovi

Season of Giants succeeds more in ambition than in execution. This 195-minute TV movie proposes that a great professional rivalry existed between Renaissance geniuses Michelangelo (Mark Frankel) and Leonardo da Vinci (John Glover). While the Florentine and Roman scenery is authentic, certain elements of the story cause the viewer to doubt its credibility. For starters, both Michelangelo and Da Vinci weather several years' time without either aging or changing their clothes; also, the "creative process" is minimized, with both artists going from inspiration to final product in what seems to be a matter of hours (maybe Michelangelo used a roller on the Sistine Chapel). Season of Giants was originally shown in two parts over the TNT Cable service, with a surprising paucity of advertising fanfare. ~ Hal Erickson, Rovi

Peter Medak directed this fact-based drama, chronicling the lives of the infamous Kray Brothers, notorious celebrities in 60s London. The Krays were twin gangsters who ruled London's stylish East End club scene, staking out their territory by committing the most violent crimes imaginable, preferring to perform the most torturous acts themselves. The film stars Gary Kemp and Martin Kemp, founding members of the pop group Spandau Ballet, as Ronald and Reginald Kray. The film opens as their mother Violet Kray (Billie Whitelaw) recalls a dream in which she is a swan from which two beautiful babies have hatched. She can't tell if the swans are angels or demons, but the film soon answers that question for her. Brought up in London's East End in the 1930s, Ronald and Reginald Kray are raised in the resentful world of Violet, who is hateful of her lot in life and bitter at the control men have in running the world ("Housework is a lethal business," she says). The twins react to each other almost telepathically and they take out their anger by clogging the nose of their sleeping father (Alfred Lynch), pushing around fellow schoolboys, and even beating each other to pulp at a boxing match. When her mother chastises them for their fight in a fairground boxing ring ("You fight them up, but you don't fight each other"), the twins veer into the London underworld. In their self-contained world of Us-Against-Them, the Krays rapidly rise to the height of power, first taking over the territory of a petty mobster by violent means and then putting together an underworld empire of posh clubs, cars, and fancy suits. But at the height of their fame, the twins begin to break from each other. Reginald falls in love with Frances (Kate Hardie), while Ronald gets involved in a homosexual relationship with one of his underlings. Ronald, in a jealous rage over Frances stealing his brother away from him, becomes even more brutal in his crimes and while the brothers' backs are turned, a group of older mobsters challenge the Krays' authority, invoking a horrible bloodbath that effects not only the two brothers but Frances and Violet as well. ~ Paul Brenner, Rovi

Originally titled Judith Krantz' Till We Meet Again, this two-part soaper covers forty-three years in the lives of three women. In 1913, French chanteuse Lucy Gutteridge embarks upon a successful showbiz career. She marries a champaigne heir and bears two daughters, played by Courtney Cox and Mia Sara. The story follows the trials and tribulations of mother and daughters through three wars and an infinite number of romances. A dash of adventure is provided by Courtney's activities as a stunt pilot, while there's glamour aplenty as Mia becomes a world-renowned movie star. The best scenes take place during World War 2, with the horrors of the battlefield running second place to the ladies' boudoir escapades. Barry Bostwick, who seems to have been in every Judith Krantz movie ever made (at least, that's what TV Guide told us back in 1989), costars as Courtney's erstwhile lover. Partly filmed in England, Till We Meet Again was first telecast November 19 and 21, 1989. ~ Hal Erickson, Rovi

The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones' father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she's an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, Rovi

The year is 1908; after centuries of unchecked power, the Ottoman empire is rapidly crumbling. As a result, Turkey's secret agents--those that haven't already been eliminated by downsizing or death--operate in a vacuum, their superiors knowing little and caring less about their activities. One such spy is Ben Kingsley, a minor bureaucrat of no ambition. When ordered to help disreputable English citizens Charles Dance and Helen Mirren in the theft of a precious Greek artifact, Kingsley goes along without question. He is even prepared to follow orders and double-cross Dance the moment the robbery is pulled off. But as the film progresses, Kingsley becomes less and less of a by-the-book government functionary and more and more of an enigma--to Dance, to Mirren, to his country, to himself. More than your usual "caper" film, Pascali's Island has more layers than an artichoke. ~ Hal Erickson, Rovi

Despite the tendency of the Curse films to bear absolutely no relation to each other, this is perhaps the only film in that series to involve an actual curse. It's also one of the better installments. The curse in question is leveled upon the 16th-century monks of San Pietro by a demonically-possessed man, just prior to his being sealed alive in the catacombs beneath the Abbey. His curse plagues the monks' embittered modern-day descendants, who toil under the strict guidance of Father Marinus (Jeremy West). When an American schoolteacher (Laura Schaefer) comes into their midst to explore the sealed catacombs, Marinus fears the worst: not only does the woman represent a powerful temptation to the repressed brothers, but her tamperings with the 400-year-old seal threaten to unleash the horror lurking behind it. His fears are, of course, well-founded, and the demonic attacks begin. Frequent Charles Band collaborator David Schmoeller directs this demon-possession opus with surprising subtlety, eschewing gore effects and Exorcist-style weirdness in favor of a pervading atmosphere of dread, weighed down only slightly by a rather talky script. ~ Cavett Binion, Rovi

Adapted from Umberto Eco's best-selling novel, director Jean-Jacques Annaud's The Name of the Rose is a 14th century murder-mystery thriller starring Sean Connery as a Sherlock Holmes-esque Franciscan monk called William of Baskerville. When a murder occurs at a secluded Benedictine Abbey, William is called in to investigate. As he and his apprentice, Adson von Melk (Christian Slater), delve deeper and deeper into the case, more dead bodies begin to turn up. Eventually, Bernardo Gui, an inquisitor played by F. Murray Abraham gets involved, but he may not have the best intentions. Sean Connery's performance earned him the award for Best Actor at the 1988 British Academy Awards. ~ Matthew Tobey, Rovi

Filmed in Tunisia on a budget of 30 million dollars, the five-part, 12-hour miniseries A.D. was the final installment in a historical trilogy which included Moses the Lawgiver and Jesus of Nazareth. Covering the years 30 to 69 A.D., the teleplay, co-written by Anthony Burgess, chronicled the political intrigue which plagued the Roman Empire, with such key players as the emperors Tiberius (James Mason in his final role), Caligula (John McEnery), Claudius (Richard Kiley), and Nero (Anthony Andrews) calling the shots. Meanwhile, the death of Jesus Christ (played by Michael Wilding, son of Elizabeth Taylor) not only sparked a widespread monotheistic religious movement, but also resulted in devastating factionalism amongst the various Jewish sects of the era. Offsetting the true events are a number of fictional subplots, among them the romance between Jewish slave girl Sarah (Amanda Pays) and Roman soldier Valerius (Neil Dickson), and the tempestuous relationship between male and female gladiators, Caleb (Cecil Humphreys) and Corinna (Diana Venora). The huge cast included Ava Gardner, making her TV-movie debut as the scheming Agrippina. The winner of an Emmy award for Best Film Editing, A.D. was broadcast by NBC from March 31 through April 4, 1985. ~ Hal Erickson, Rovi

The story in this two-part TV biopic was probably "untold" mainly because it was untrue. According to the revisionist script by Stirling Silliphant, Italian dictator Benito Mussolini (overplayed by George C. Scott) may have been a fascist, a tyrant, a mass murderer and an intimate of Adolf Hitler, but he also had his warm and fuzzy side. This was manifested in his genuine love for his gorgeous mistress Clara Petacci (Virginia Madsen), whose devotion to Il Duce was equally strong, so much so that she willingly went to her death along with him when the Axis collapsed and the ex-dictator was summarily shot. Despite his extramarital shenanigans, Mussolini had plenty of affection left over for his long-suffering wife Rachel (Lee Grant) and his children. With a cast comprised largely of non-Italians (notably the aggressively Irish Gabriel Byrne as Mussolini's son Vittorio), this epic had more phony dialects than a Marx Bros. picture. Despite its distant relation to the facts and its flaccid treatment of one of history's darkest periods, Mussolini: The Untold Story (filmed not in Italy but in Yugoslavia) garnered respectable ratings when it was originally telecast by NBC on November 24 and 26, 1985--and also earned a brace of Emmy award nominations. ~ Hal Erickson, Rovi

Originally a nine-hour British miniseries, this film on the last four decades in the life of Richard Wagner may have taken its long-winded cue from the lengthy operas of the famous 19th-century German composer and musical theorist -- the Ring des Nibelungen is 14-15 hours in itself, divided into four separate operas. This biographical film begins when Wagner is first recognized for his work, yet in that same year, 1848, he was forced out of his homeland for his radical politics (he supported the unification of separate kingdoms under one Germany) and settled in Zurich for awhile. Focusing on character traits that are well-known and would not endear him to anyone, the film details his bigotry (a confirmed anti-Semitic), his insensitivity, and his obsession with money -- he went after the bottom line even if it meant losing friendships or ruining his marriage. Although Wagner is known for his music theory and the contribution he made to opera during his lifetime, very little attention is given to his actual works in this film. Venerable British thespians (Laurence Olivier, John Gielgud, Ralph Richardson, Vanessa Redgrave, Joan Plowright, and Richard Burton as Wagner) light up the cast but not always with the same brightness. In the final analysis, the slow-paced story is simply too long in the telling, and even the visually sumptuous costumes and production design cannot make up for a slow script, uneven acting, and problems in direction. The film version runs 300 minutes. ~ Eleanor Mannikka, Rovi