Peter Turner Movies

Set adrift in the vast waters of the North Atlantic for a luxury New Year's Eve party staged in the ship's magnificent ballroom, the massive ocean-liner Poseidon receives an unexpected jolt when a rogue, 100-foot wave rolls it completely upside down, forcing the surviving passengers to fight their way to safety in Das Boot director Wolfgang Petersen's waterlogged blockbuster. Trapped beneath the waterline and implored by the captain to remain in place until a rescue team arrives, the panicked survivors struggle to keep their cool as the water begins to rush in, infernos blaze all around, and a loss of electricity plunges the doomed vessel into total darkness. Seasoned gambler Dylan Johns (Josh Lucas) isn't willing to wage his life on the prompt arrival of help, though, and as he attempts to navigate the treacherous, inverted maze of death, he is flanked by desperate band of like-minded seafarers including eight-year-old Conor (Jimmy Bennett) and his mother, Maggie (Jacinda Barrett), reticent stowaway Elena (Mía Maestro), suicidal Richard (Richard Dreyfus), and concerned father Robert (Kurt Russell), whose missing daughter may still be somewhere onboard along with her frightened fiancé. With a little luck and a little help from onboard waiter Marco (Freddy Rodriguez), the desperate team may just live to see the morning after. ~ Jason Buchanan, All Movie Guide

Kim Basinger plays a burglar ex-con who's just been released from a 10-year stint and intends to go straight, when a big-time Atlanta crime boss kidnaps her six-year-old son and forces her to pull one last heist. She concocts an elaborate bank job but goes one step further and outwits both the bank and the mobster. ~ All Movie Guide

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, All Movie Guide

Filmed in 1979 and released publicly one year later, The Tempest is an abstract 16-millimeter feature film based loosely on the "magical" Shakespeare play. Director/writer Derek Jarman also throws in a few Shakespearean sonnets when the spirit moves him. Essentially, Jarman uses the material as the basis for a homosexual metaphor, most notably in the Prospero/Caliban relationship. He would further elaborate this concept in his next film, The Angelic Conversation. Jarman's The Tempest by its very nature speaks to a small, specialized audience. ~ Hal Erickson, All Movie Guide