Bovie Movie

Mason, who lives on the streets, wants to cease his life when on the same day his two best friends die: His dog and an older man with whom he shared his food and roof. Just in time Cole, from a charity organization, can prevent his suicide and also offers him a quite well paid job as servant for a hunting party in the Rocky Mountains. Mason accepts the job and flies with them to a hut in the wilderness where they prepare everything for the four rich businessmen who want to hunt something special. Mason does not yet know that he is the victim of their sports that should lead to the basic insticts of man, but they did not count with his cleverness…

Lenny and Amanda have an adopted son Max who turns out to be brilliant. Lenny becomes obsessed with finding Max’s real parents because he believes that they too must be brilliant. When he finds that Linda Ash is Max’ real mother, Lenny is disappointed. Linda is a prostitute and porn star. On top of that, she is quite possibly the dumbest person Lenny has ever met. Interwoven is a Greek chorus linking the story with the story of Oedipus.

Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.

Al Lewis and Willy Clark were once a popular vaudeville comedy team called Lewis and Clark, also known as The Sunshine Boys. After forty-three years as a team, they parted company over eleven years prior on not too friendly terms as Willy wanted to continue his career whereas Al wanted to retire. They have not spoken since. Willy’s nephew, Ben - a talent agent - has been trying to find acting jobs for his uncle since with little success as Willy’s age and declining ability is showing. But a lucrative opportunity comes up when one of the major networks is producing and airing a special on the history of comedy, and want The Sunshine Boys to appear. Ben has to try and convince the comedy team to reunite for just this one gig. Ben has to try and manage the individual quirks and personalities of each of The Sunshine Boys while putting on a good face to the network that there is harmony within The Sunshine Boys comedy team. Ben also has to manage the lives of two men in the twilight of their lives.

It is the year 35 of the Vulgar Era. The Emperor Tiberius is troubled by strange phenomena, an earthquake and the sky turning black as an eclipse. His astrologers give him fair warning: their omens indicate that the world is in the throes of a great upheaval and that old gods have been annihilated. A new kingdom is about to rise in the East. The Emperor calls Tito Valerio Tauro, the most prominent investigator in Rome, back from his exile. He was ostracized years earlier because he had discovered too much regarding the death of the great Emperor Augustus, the predecessor of Tiberius. Tiberius entrusts Tauro with a mission that will require all his talent: should he conduct it successfully, his good name will be completely restored. He must discover the truth regarding the death sentence of a poor Judean rabbi. His name is Jesus of Nasareth and they say he has resurrected from the dead. Tiberius is convinced that it has something to do with the prophecies and the celestial omens that shook the world some months earlier. Tauro is a septic and the only thing he believes in is reason, but a series of mysteries that will put his intelligence to the test awaits him in Judea. Nothing is as it seems in Jerusalem. Governor Pilate is an ambiguous man, both discredited and treacherous, who weaves his way among the opposing Pharisee and Zealot factions. During his inquiry, Tauro comes face-to-face with individuals he has never met before: Saul of Tarsus, a valiant defender of Mosaic tradition and an unshakable prosecutor of Christians; the mysterious and nearly insane Judas of Iscariot, who is presumably one of the disciples of Jesus of Nasareth; and the alleged leader of the Christians, a poor fisherman named Shimon Peter. They are humble and powerful men, belonging to one faction or the other, but who share one obsession: an idea of faith that the Roman eyes of Tauro seems to be simply incomprehensible and quite dangerous. He withstands this idea with all his might. He believes that Jesus is only a quack, some kind of impostor and his presumed resurrection must be a public hoax staged in order to exploit the credulousness of the poor lot, the first to be converted to the Christian sect, the followers of Jesus, nearly all of them belonging to the lowest social levels of society: fishermen, farmers, even slaves - all of them treated as free men. And the same holds true, more surprisingly yet, for women - equal to men in the eyes of the Christian God. One of these women who believe in Jesus will finally offer Tauro the key to understanding the mystery of Jesus of Nasareth’s death and conclude the mission that the Emperor has entrusted him with. Her name is Tabitha. She is not yet twenty years old and she will unveil the mystery of love to the cleverest and most disenchanted Roman investigator.

This haunted house chiller is the second feature from Dark Castle Entertainment, the mid-budget outfit put together in 1999 to remake the cheesy horror genre pictures of William Castle by his daughter, Terry Castle, and producers Gilbert Adler, Robert Zemeckis, and Joel Silver. Financially ravaged and widowed by a fire that is consuming him with guilt, Arthur Kriticos (Tony Shalhoub) is left to raise two kids on his own: beautiful teenager Kathy (Shannon Elizabeth) and grade school student Bobby (Alec Roberts). Good news suddenly drops into their lives when a lawyer visits and reveals that they have inherited a lavish home from a late uncle, Cyrus (F. Murray Abraham), an eccentric ghost hunter. The Kriticos family moves into the remote house only to discover its odd secret: the dwelling contains a state-of-the-art, elaborate system of moving glass walls that trap spirits inside. Soon the ghosts, which can only be seen through the use of special high-tech spectacles, are loose in the elaborate contraption and are none too thrilled about their predicament. With the exits sealed, the family members try to learn the secret of Uncle Cyrus’ bizarre mansion and survive supernatural assaults with the help of sassy housekeeper Maggie (Rah Digga), neurotic psychic Rafkin (Matthew Lillard), and Kalina (Embeth Davidtz), an activist championing the civil rights of ghosts. The eyeglasses through which the spirits can be viewed in Thirteen Ghosts (2001) were part of a ballyhoo gimmick involving pairs of spectacles handed out to audiences for screenings of the 1960 original, which was presented in “Illusion-O.”

Arnold Schwarzenegger appears as a pumped-up Shakespearian hero while an announcer bellows, “Something is rotten in Denmark — and Hamlet is taking out the trash!” This gag sets the stage for the post-modernist action epic The Last Action Hero. The film concerns Danny Madigan (Austin O’Brien), a lonely eleven-year-old boy who escapes from his bleak New York City reality by glorying in the action adventure movies of his favorite film character, Jack Slater (Arnold Schwarzenegger). Danny’s friend is an elderly movie projectionist, Nick (Robert Prosky), who lets Danny into the shabby Times Square movie theater where he works so Danny can see Slater’s new movie. He hands Danny a magic ticket given to him years ago by Houdini, and when Nick rips the ticket and gives Danny the stub, Danny finds himself catapulted from the theater into the back seat of Slater’s speeding sports car in “Jack Slater IV.” Danny becomes Slater’s helper as Jack battles a trio of nefarious bad guys –Benedict (Charles Dance), Vivaldi (Anthony Quinn) and The Ripper (Tom Noonan). But things get out of hand when Benedict steals Danny’s magic ticket stub and transports himself into Danny’s reality. Benedict and The Ripper proceed to wreak havoc along Broadway, forcing Slater to cross into reality to get the villains and, in the process, learn about blood and pain.

First filmed in 1928, Thornton Wilder’s Pulitzer-winning novel The Bridge of San Luis Rey is given a ponderous treatment in this 1944 remake. Like the novel, the film begins at the end, with the collapse of a rope bridge in 18th century Peru. The story then flashes back to the lives of the five unfortunates killed in the collapse. Among the five are singer-turned-couresan Michaela (Lynn Bari), her obsequious Uncle Pio (Akim Tamiroff), feuding twin brothers Manuel and Estaban (both played by Francis Lederer) and the envious Marquesa (Nazimova). Trying to make sense of the lives and deaths of the five is sensitive young priest Brother Juniper (Donald Woods).