The story of the famous and influential 1960s rock band The Doors and its lead singer and composer, Jim Morrison, from his days as a UCLA film student in Los Angeles, to his untimely death in Paris, France at age 27 in 1971.
Jonathan Frid portrays a horror novelist who has a recurring nightmare about three figures out of his book who terrorize him and his family and friends during a weekend of fun. Then the ... See full summary »
An acerbic radio talk show host based in Dallas starts what could be an important few days when he discovers that his controversial late night show is about to be "picked up" by a nationwide network of radio stations. However, all is not perfect for him, because on top of troubles with his love life and fears that the management of the network will try to alter the content of his show he has to cope with a neo-nazi group who have been angered by his forthright opinions.Written by
Mark Thompson <firstname.lastname@example.org>
"Talk Radio" is my favorite Oliver Stone movie, though he has made many great ones including "Salvador", "JFK", "Natural Born Killers" and "Platoon". But I like the intimacy of "Talk Radio", a cinematic expansion of Eric Bogosian's searing stage play that was based on a real life account of a Dallas talk show host. Working with ace cinematographer Robert Richardson, Stone turns what could have been a very set-bound exercise into a visually arresting ideological battle that presents a radio station as an arena of war. Bogosian is devastating as tortured on-air spouter of abuse Barry Champlain and conveys the conflicted, destructive nature of his character with conviction and a generous dose of self-loathing. Alec Baldwin, as his Alpha male boss, strikes the perfect note as a man driven nuts by a guy whose monstrousness he helped nurture. Ellen Greene is fantastic as Barry's sweet ex-wife who ends up becoming another target of his vicious personal vitriol. Stone and Bogosian fill every frame with interest and every line of dialog with sweet poison and cutting ambiguity. John C. McGinley, as Barry's long-suffering screener/technical producer Stu, turns in a hilarious, sharp performance, as does the great Michael Wincott. The film is a flawless, underrated masterpiece of superb writing, awesome acting and brutal, uncompromising direction. The Stewart Copeland score is brilliant, too.
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