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. 

At the beginning of Interstate 60, Neal Oliver (James Mardsen) has more questions about his future than answers. Though he would rather pursue a career in art, Neal debates whether or not he should set his goals towards a law degree, as his father would greatly prefer. He has a girlfriend, but he wonders if he should search for the mysterious woman (Amy Smart) who visits his nightly dreams and inspires his artwork. By the time his 23rd birthday roles around, Neal is no closer to choosing his life’s path. He feels empty and unsatisfied, despite lavish birthday gifts, and wishes only for clarity as he blows out the candles on his cake. Rather than instant answers, Neal is given the opportunity to take a journey on a highway that doesn’t exist on any map; a highway where the past, present, and future converge. Alongside him is One Wish Grant (Gary Oldman), the immortal offspring of a leprechaun and Cheyenne Indian, who has the unique ability to grant wishes to those he believes deserve them. Thus begins Neal’s surreal road trip through the uncharted territories of his own potential destiny. Interstate 60 features a stellar cast with supporting performances and cameos from Kurt Russell, Michael J. Fox, Liv Tyler, and Christopher Lloyd. Bob Gale, co-writer/producer of Used Cars, I Wanna Hold Your Hand, and, most notably, the Back to the Future trilogy, directs.

Prepare to marvel at more death-defying feats as X-Men director Bryan Singer resurrects the Man of Steel for a new millennium. Newcomer Brandon Routh dons the cape as Superman and he carries two-and-a-half hours of preposterous plot with sheer charm, growing in confidence even as the plausibility of Clark Kent’s dual existence is stretched to breaking point. Routh’s eerie resemblance to Christopher Reeve is a bonus that also reflects Singer’s back-to-basics approach: the film is tinged with nostalgia for the original franchise, from the cheeky humour to John Williams’s trumpeting score. But Singer also takes advantage of new technology to create even-more breathtaking special effects, as when Superman balances an aeroplane on its nose. Kevin Spacey is adeptly sinister as Lex Luthor, although Parker Posey steals his thunder as sassy gangster’s moll Kitty Kowalski. And, while Kate Bosworth might be a little too timid for Lois Lane, her thorny relationship with the long-absent Superman provides a nice counterpoint to all the world-saving exploits. 

If any movie musical could threaten the standing of retro favourite Grease, it’s this one. Director Adam Shankman adapts the hit Broadway show, itself spun off from John Waters’s 1988 camp classic, retaining the original story (plus a few tweaks). Set in 1962, this has the amply proportioned Tracy Turnblad (a stunning debut by Nikki Blonsky) attempting to realise her dream of becoming a featured dancer on a local Baltimore TV teen show. She wows host Corny Collins (James Marsden) with her moves, but is then confronted by the twin menaces of racial prejudice and scheming showbiz mum Velma von Tussle (Michelle Pfeiffer), who also happens to be the manager of the TV station. The cast is terrific — a fat-suited John Travolta is a delight as Tracy’s mother, Edna — and each lead gets a solo in the spotlight before the rousing finale. With its catchy songs, well-groomed performances and slickly teased dance routines, this tuneful toe-tapper is simply irresistible fun. 

Ray Elliot helps people cheat on their spouses by arranging iron-clad alibis for a price. About the time he hires a new assistant, Lola, he learns there’s a $5 million contract out on Jack McAdam, his former partner; and, his first and longest-running client wants him to set up a weekend for his son, who’s about to marry. When the son’s illicit tryst goes terribly awry, Ray has more than his share of problems: police, a jealous boyfriend, angry clients, a polygamist hitman, a coroner’s assistant, and various wives converge to put Ray in danger. Can Lola be trusted? What about human nature?