Jeffrey Winner Movies

Hired by the DMV, Bud (David Faustino) struggles to communicate with long lines of potential drivers, none of whom are remotely familiar with the English language. But Bud's most formidable task is to administer a driving test to his own father Al (Ed O'Neill). Meanwhile, Kelly (Christina Applegate) loses her job as "The Verminator" thanks to the interference of Jefferson D'Arcy (Ted McGinley), compelling Jefferson's wife Marcy (Amanda Bearse) to find employment for Kelly at the bank--a most "revealing" assignment. ~ Hal Erickson, Rovi

This 1982 made-for-TV version of the Lewis Carroll classic Alice in Wonderland features an all-star cast. Such celebrities as Donald O'Connor, Maureen Stapleton and Eve Arden struggle to perform while buried under mounds of makeup and tons of eccentric costuming as Carroll's alternate-world loonies. Alice in Wonderland was first telecast Oct 3, 1983, on PBS' Great Performances. ~ Hal Erickson, Rovi

Dutch cult director Rene Daalder's fascinating debut was this unfairly neglected and richly idea-laden political allegory set in an American high school. Derrel Maury stars as David, a new student at Central High School who is shocked at the degree of control wielded by several preppie thugs who run the school with an iron fist. Though accepted into this circle given his connections to one of its members, Mark (Andrew Stevens), David loses favor with Mark's friends when he also begins spending time with the school's social outcasts. The worst is still to come, however, when David threatens the pecking order by foiling the thugs' attempted gang rape of a female student and has his leg crushed for his efforts. Eventually, the crippled David politicizes the underclass to fight their oppressors, and all three are killed by falling (from political power, the analogy clearly suggests). Daalder then takes the film in a different direction, with the newly liberated student body becoming an oppressive force themselves, and David enraged to the point of mass murder, deciding to wipe out the entire school. Stirred to action, it is up to the formerly apolitical Mark and Teresa to stop him. Daalder shrinks the entire political spectrum into the crucible of what seems on the surface to be a standard exploitation film. There are representatives of the extreme left, extreme right, disaffected center, intellectual bourgeoisie, and so forth, and all are nicely sketched without sacrificing the film's visceral appeal. Beyond the portraits, however, Daalder also skillfully shows the transitions which occur in many political movements, notably those which start as populist and develop into oppressively hierarchical castes. Perhaps disheartened by the failure of Massacre at Central High at the box office, Daalder did not direct again for nearly two decades, but returned with two more conceptually challenging (if equally unsuccessful) genre films, Hysteria and Habitat, in the mid-'90s. ~ Robert Firsching, Rovi