Bovie Movie

In this thriller, three students on a journalism course start a rumour about a prudish fellow student having sex at a party to see how quickly the story will spread. When their ruse leads to an accusation of rape and an innocent man’s arrest, the gossip-mongers are divided as to whether to own up or not, and dark secrets from the past also surface to complicate matters. Davis Guggenheim’s film is visually striking, but it never fully capitalises on the dramatic potential of its premise. Similarly, the young cast is attractive, but the performances are shallow, with James Marsden’s turn as the cynical Derrick the only one worthy of mention. 

This take on one of the most popular TV shows of the 1970s by director McG (Joseph McGinty Nichol) is nothing more than a gossamer-thin, pop culture patchwork. Beginning on a low note of self-referential camp, the movie never aims higher than star and co-producer Drew Barrymore’s plunging neckline.?he’s part of the vampy super agent trio, alongside Cameron Diaz and Lucy Liu, hired to find a kidnapped software genius — a storyline that twists to jeopardise the life of reclusive head honcho Charlie (voiced as ever by John Forsythe). With its reheated plot, trashy single-entendre humour and ho-hum thrills, this rickety adventure charmlessly sashays its bland way from one kitsch set piece to the next. If a way had been found to spread the good time Diaz is clearly having with her role over this entire disaster, then Charlie’s Angels might have been a lot more fun. But it wasn’t, leaving this as little more than stultifying eye-candy, brimful of skin-tight costumes, lightweight Bond action and slow-motion hair flips. Thank heavens for Bill Murray, whose reliable presence as Bosley rescues the whole thing from total doom. 

Based on the true story of Jim and Artie Mitchell, two brothers who entered the porn industry in the early 60’s. After creating such legendary porn films as “Behind the Green Door” and “Inside Marily Chambers”, they later became addicted to drugs and began a downward spiral leading to bankruptcy and murder.

Jet Li takes his first starring role in a US movie here, playing an ex-cop convict who flees to America to avenge the death of his brother and gets entangled in a Mob war. During his investigation, he continually mixes with the daughter (played by singer Aaliyah) of the rival gang’s head thug, yet the film-makers are too cowardly to take the interracial relationship beyond mere friendliness. Even for an American movie, the martial arts sequences are very badly choreographed, and there is far more hip-hop music and lingo than either plot or action. Fortunately, Anthony Anderson provides some welcome comic relief as a dim-witted henchman. 

Director John Woo brings Hong Kong-style martial arts action to this comic book-flavored sequel that eschews the complicated plot and political maneuverings of its predecessor in favor of pure, adrenaline-charged thrills. Tom Cruise returns as Ethan Hunt, an operative for the top-secret government agency IMF (Impossible Missions Force). Fellow agent Sean Ambrose (Dougray Scott) has gone rogue, stealing a sample of a deadly synthetic virus named Chimera that could rapidly wipe out the world’s population. Ambrose’s plan is to sell Chimera to the highest bidder in exchange for shares of stock in the winner’s company. Summoned by the new IMF chief (Anthony Hopkins in an uncredited cameo role), Ethan is assigned to recruit the help of Ambrose’s former lover Nyah Nordoff-Hall (Thandie Newton), a gorgeous woman who left Ambrose broken-hearted and who may be able to quickly regain his confidence. Once he meets and spends a night with Nyah, however, Ethan is smitten, and now must both capture Ambrose and keep Nyah alive as she infiltrates a nest of vipers. Sophisticated disguises, gun battles, and high-speed chases are the order of the day, very much in the James Bond mold. Mission: Impossible 2 is based on a story by Star Trek: The Next Generation writers Ronald D. Moore and Brannon Braga, with a script polish by Robert Towne.

Yikes, is this bad! Fresh-faced debutant Alec Baldwin must have wondered what sort of business he was getting into as he watched Israeli director Amos Kollek cobble together this unmitigated disaster of a movie. It was much worse for German star Hanna Schygulla because she had placed an international reputation on the line (although heaven only knows why). Debbie Harry got it right, however — cameo, get paid and run. Released on video as Crazy Streets, this is a fish-out-of-water story that should have been thrown back. You won’t see a worse film on TV this year. 

This stale and hackneyed sports comedy about a bunch of has-beens and no-hopers replacing striking professional American football players has quite an impressive cast for its type, boasting the likes of Keanu Reeves, Gene Hackman, Rhys Ifans and Jon Favreau. While it has some funny touches, such as the suggestive routines of the cheerleaders that distract the opposition, all the characters are purely one-dimensional, with even Hackman failing to achieve anything with his veteran coach role. Although the numerous passes and touchdowns are competently filmed, there’s precious little excitement generated, since we care little about those on the pitch. 

A series of mishaps and misfortunes over $1 million in cash leads to murder, mayhem and greed.

Director Mary Harron fought tooth and nail for Christian Bale to play Bret Easton Ellis’s smooth yuppie killer (Leonardo DiCaprio was the studio’s choice), and her decision is totally vindicated in this dark comedy drama. Bale is brilliant, boasting a flawless American accent and an impressively sculptured physique as the wealthy, successful and psychotic Patrick Bateman. Despite the novel’s skin-crawling reputation, most of the violence takes place off-screen. Moreover, the film’s satirical swipes at the materialistic 1980s provide laughs amid the carnage, as does Bale’s cheesy, game-show host delivery of Bateman’s eccentric cultural observations. Aside from a graphic threesome, this is an admirably restrained adaptation, although its cold, aloof tone somehow lessens the impact of Bateman’s actions. 

Jon Favreau and Famke Janssen star in this slick indie film about love, romance, and jealousy. Kate (Janssen) almost gets fired from her posh magazine job when she submits an overly graphic, overly personal article on oral sex. As she rewrites her piece, she reminisces on her past flames, particularly on her most serious relationship — with Adam (Favreau), a fast-talking, very neurotic painter. The film traces their romance from their initial heady meeting, to moving in together, to an unexpected pregnancy, and the inevitable breakup because Adam felt trapped. Devastated by Adam’s sudden defection, Kate goes on a dating spree and manages to drive him crazy by going out with handsome yet shallow video star Joey Santino (Josh Hopkins). Meanwhile, Adam grows increasingly obsessed with Kate’s private life. This film was screened at the 2000 Sundance Film Festival.