Bovie Movie

Robert Altman directed this John Grisham tale that begins at a party where Savannah attorney Rick Magruder (Kenneth Branagh) celebrates his successful defense of a man who shot a local cop. The partygoers include his ex-wife Leeanne (Famke Janssen), the mother of his two children; his law partner Lois Harlan (Daryl Hannah); and caterer Mallory Doss (Embeth Davidtz). After Mallory finds her car stolen, Rick gives her a ride home where things turn sexual. Attracted to Mallory, he learns that her crazed father Dixon Doss (Robert Duvall) has been threatening her. Getting too closely involved with this woman he hardly knows, Rick has the police round up her unstable father, and he next subpoenas her ex-husband Pete (Tom Berenger) to testify against Dixon, who is institutionalized.

The crazed Dixon manages to escape from the asylum, intent on revenge against all his betrayers and enemies. As a potent hurricane blows into Savannah, Mallory’s car is torched, and Rick receives threats. Believing his children are in danger, Rick removes them from school, prompting a warrant for his arrest. When his children disappear, Rich goes on the counterattack against Dixon. Chinese cinematographer Changwei Gu (of Chen Kaige’s Farewell My Concubine and Zhang Yimou’s Ju Dou) captured the soaked Savannah sites. The script is not an adaptation from a John Grisham novel; Grisham wrote it as an original screenplay just before the success of The Firm (1993), and it was acquired by producer Jeremy Tannenbaum. After Island Pictures came into the project at $1.4 million, Grisham returned for rewrites. Altman did even more drafts, so the pseudonym Al Hayes was created as the scripting credit. When Polygram suggested to Altman that the electronic score could be replaced with a traditional score, Altman had friends call reporters to say he had been dismissed. Polygram began re-editing the $25 million movie, but their edit didn’t test much better than Altman’s version, so they handed the reins back to Altman.

Perhaps the most highly anticipated film of 2003, Kill Bill Vol. 1 marked the return of renowned filmmaker Quentin Tarantino after a six-year hiatus. Re-teaming the director with Uma Thurman for the first time since 1994’s Pulp Fiction, the film was originally the first half of what was to be a three-hour-plus movie before being split into two films. Thurman stars as The Bride, one-fifth of a team of assassins called DiVAS. When The Bride opts to leave the outfit for a life of marital bliss, it doesn’t sit well with her boss, Bill (David Carradine), so he has her former cohorts, played by Lucy Liu, Vivica A. Fox, Daryl Hannah, and Michael Madsen, show up at the nuptials, leaving behind a blood bath. Miraculously, The Bride survives a bullet to the head and, four years later, she sets out for revenge against her four assassins and their employer. The story is concluded in Kill Bill Vol. 2, released six months later.

Quentin Tarantino’s sprawling homage to action films of both the East and the West reaches its conclusion in this continuation of 2003’s ultra-violent Kill Bill Vol. 1. Having dispatched several of her arch-enemies in the first film, The Bride (Uma Thurman) continues in Kill Bill Vol. 2 on her deadly pursuit of her former partners in the Deadly Viper Assassination Squad, who, in a furious assault, attempted to murder her and her unborn child on her wedding day. As The Bride faces off against allies-turned-nemeses Budd (Michael Madsen) and Elle Driver (Daryl Hannah), she flashes back to the day of her deadly wedding, and we learn of how she was recruited to join the DiVAS, her training under unforgiving martial arts master Pai Mei (Liu Chia-hui), and her relationship with Squad leader Bill (David Carradine), which changed from love to violent hatred. Originally planned as a single film, Kill Bill grew into an epic-scale two-part project totaling more than four hours in length; as with the first film, Kill Bill Vol. 2 includes appearances by genre-film icons Sonny Chiba, Michael Parks, Larry Bishop, and Sid Haig; Wu-Tang Clan producer and turntablist RZA and filmmaker and composer Robert Rodriguez both contributed to the musical score.

This independent production find New York cab driver Glenn Atkins (Fred Dennis) finding a valuable piece of paper in his vehicle at the end of the day. The paper is a map that leads to $400,000 of stolen money hidden near the Hudson River. Glenn makes love to his wife, a fellow employee and the wife of the man who planned the robbery of the Florida bank. The longer he holds on to the map, the more danger he encounters in this drama of a man who risks his life for the hidden money.

In this sequel to the surprise hit Grumpy Old Men, life goes on much as it usually does in Wabasha County, Minnesota, with the only notable differences being that John Gustafson (Jack Lemmon) and Max Goldman (Walter Matthau) are getting along all right (or at least to the extent that they’re capable of getting along with each other), and that John’s marriage to free-spirited Ariel (Ann-Margret) is working out quite nicely. John and Max’s great obsession in life remains fishing, and both are vying to reel in “Catfish Hunter,” a trophy fish that local anglers have been trying to catch for ages. However, Max is outraged when Maria Ragetti (Sophia Loren) and her mother Francesca (Ann Morgan Guilbert) arrive in town and take over the local bait and tackle shop, only to announce that they’re going to close it down and open an Italian restaurant in its place. Max goes to remarkable lengths to foil Maria’s plans, but John thinks that his friend needs a wife, and that Max and Maria might make a good match. Grandpa Gustafson (Burgess Meredith) seems to think he’d be a good mate for Francesca, but then again he’s not known for being very fussy about women. John’s daughter Melanie (Daryl Hannah) and Max’s son Jacob (Kevin Pollak) are trying to work out their own plans to get married, and they might just make it to the altar if John and Max can stop interfering. Grumpier Old Men proved to be the last role for veteran actor Burgess Meredith, who died two years after it was released.

This cheerful holiday comedy, a surprise box office smash, featured a generous dollop of raunchy, crude humor and was greatly elevated by the presence of masterful performers in the lead roles. Jack Lemmon is John Gustafson, an ice-fishing Minnesota native who has been feuding with his neighbor and former best friend Max Goldman (Walter Matthau) for decades. The battle of wills between John and Max is characterized by crude name calling and harmless practical jokes. Max is unaware that John is having serious problems, chiefly that his daughter Melanie (Daryl Hannah) is experiencing marital woes and that his house is about to be confiscated by an officious IRS agent (Buck Henry). When it seems that John and Max may finally put aside their childish rivalry, however, sexy new neighbor Ariel (Ann-Margret) arrives and dates both men, pitting them against each other more fiercely than ever before. Despite their mutual loathing, the death of a friend, John’s problems, and a budding romance between Max’s son Jacob (Kevin Pollak) and Melanie may force the two old friends to reconcile.

What was once a brave frontier town has become a haven for enlightened oddballs in this unusual drama from director Michael Polish, written in collaboration with his twin brother, Mark Polish. Northfork is a small town in Montana which, in 1955, is soon to disappear in the name of progress; a massive hydroelectric dam is to be put in nearby, which will flood the entire village. A group of six men sent by the power company — led by Walter O’Brien (James Woods) and his son Willis (Mark Polish) — arrive in Northfork to evacuate the few remaining residents. If the men are successful, they’ll each be given parcels of land on the banks of the new lake which will be where Northfork once stood. Most of the townspeople have already left, but a few remain, among them Father Harlan (Nick Nolte), a man of the cloth who is caring for Irwin (Duel Farnes), a strange, scarred boy apparently on his deathbed, and a handful of enchanted eccentrics who have taken over a local bar, including Flower Hercules (Daryl Hannah), Cup of Tea (Robin Sachs), Happy (Anthony Edwards), and Cod (Ben Foster). As Walter and Willis try to persuade the stubborn stragglers to move on, Walter must search for a new final resting place for his late wife, whose coffin is the last to be relocated after Northfork’s cemetery is dug up. Northfork received its world premier at the 2003 Sundance Film Festival.

A blend of science fiction and noir detective fiction, Blade Runner (1982) was a box office and critical bust upon its initial exhibition, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built by the Tyrell Corporation for use in dangerous off-world colonization. Deckard’s former job in the police department was as a talented blade runner, a euphemism for detectives that hunt down and assassinate rogue replicants. Called before his one-time superior (M. Emmett Walsh), Deckard is forced back into active duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has escaped and headed to Earth, killing several humans in the process. After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one of his targets. Attacked by another replicant, Leon (Brion James), Deckard is about to be killed when he’s saved by Rachael (Sean Young), Tyrell’s assistant and a replicant who’s unaware of her true nature. In the meantime, Batty and his replicant pleasure model lover, Pris (Darryl Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get close to Tyrell and murder him. Deckard tracks the pair to Sebastian’s, where a bloody and violent final confrontation between Deckard and Batty takes place on a skyscraper rooftop high above the city. In 1992, Ridley Scott released a popular director’s cut that removed Deckard’s narration, added a dream sequence, and excised a happy ending imposed by the results of test screenings; these legendary behind-the-scenes battles were chronicled in a 1996 tome, Future Noir: The Making of Blade Runner by Paul M. Sammon.