Bovie Movie

Director Ron Howard has become one of the most accomplished of Hollywood craftsmen, and this sturdy star-studded action drama was deservedly a mainstream hit. Kurt Russell and William Baldwin play the warring, firefighting brothers who have to cope with a rash of blazes started by a seemingly deranged arsonist, whose lethal “backdrafts” are resulting in death and destruction. The plot is hardly original, but Howard marshals the sprawling elements with great finesse and the fire footage, if harrowing at times, is genuinely exhilarating. The list of stars is never-ending: supporting the two leads are Jennifer Jason Leigh, Robert De Niro, Donald Sutherland, Rebecca De Mornay and JT Walsh. 

Shane goes to outer space in this depressingly unoriginal slice of science fiction from Event Horizon director Paul Anderson. A near monosyllabic Kurt Russell plays the brainwashed army killing machine dumped on a garbage planet when a newer DNA manipulated model is developed. There he finds a forgotten outpost of stranded humans who adopt him as their warrior saviour when Jason Scott Lee’s genetically enhanced battalion arrives for practice manoeuvres. There’s hardly an original bone in its body, despite the screenplay from Blade Runner’s) David Webb Peoples, and Anderson trots out familiar clichés against a tired postapocalyptic backdrop. It’s a by-the-numbers empty spectacle with zero emotional engagement, lots of mindless slam-bang action and heaps of unintentional laughs. 

Aliens colonised ancient Egypt through a space-time portal, according to this derivative yet hugely enjoyable cosmic adventure. A shameless marriage between Indiana Jones and the ideas of Erich Von Daniken, its clunkier plot details are neatly disguised by director Roland Emmerich’s flair for epic action (he did make Independence Day, after all). James Spader is terrific as the code-cracking archaeologist who accompanies soldier Kurt Russell across the universe to fight galactic tyrant Jaye Davidson, who’s clearly wearing the frocks The Crying Game couldn’t afford. Stargate is simple in execution, yet classic in the nostalgic way it evokes the feel of vintage 1940s serials, with Emmerich doing an outstanding job, combining plot strands from literature and other films of the genre — even the title is borrowed, from Stanley Kubrick’s 2001: a Space Odyssey — with some imaginative special effects and impressive visuals. One of the film’s best achievements in this area is its depiction of what it might actually feel and look like being hurtled across the universe at the speed of light. Emmerich’s film may not be a lot of things, but as an action-packed, science-fiction rollercoaster ride, it’s fabulous fun. 

Demian Lichtenstein utilises the brusque visual and verbal style of Reservoir Dogs in this tired crime comedy thriller. He also over-indulges in the camera pyrotechnics that characterised his time as a director of commercials and pop videos. Kurt Russell (who played Elvis Presley in the 1979 TV movie Elvis) gets to dress like the King once more, as the leader of a gang planning a raid on a Las Vegas casino. Kevin Costner, meanwhile, attempts to rekindle his career, playing determinedly against type as a foul-mouthed sociopath. On the whole, this is a crass and calculatingly excessive bid for cult kudos. 

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.

Producer Joel Silver is no mug at the action game, being one of the chaps behind the Lethal Weapon and Die Hard series, and, though no match for his best work, this thriller is entertaining enough. In this once far-fetched but now rather chilling action tale, David Suchet’s gang of terrorists heads towards the USA in a hijacked jumbo jet with enough stolen Russian nerve gas to kill millions of Americans. Steven Seagal and the deceptively urbane Kurt Russell share top billing as part of an elite team that sets out in a stealth bomber to try to defuse the situation. It’s competently done and director Stuart Baird (who is probably better known as a film editor) makes good use of the set pieces. 

Imagine a John Hughes teen drama combined with The Incredibles and you’ll know what to expect from this futuristic high-school romp. A coming-of-age sci-fi comedy, it gives the trials and tribulations of adolescence a playful comic book-style spin. Michael Angarano stars as the son of revered superheroes Kurt Russell and Kelly Preston, who’s sent off to the literally Sky High secret academy to hone his powers. But what his parents don’t realise is that his special skills haven’t yet emerged, which leads to him being bullied when he’s downgraded to “sidekick” status. Part self-aware send-up, part colourful fantasy, the film’s strength lies in its contagious sense of fun. Everything is done with tongue firmly in cheek, and there’s some inspired casting, including Bruce (Evil Dead) Campbell as a tyrannical coach and 1970s Wonder Woman Lynda Carter as the school’s principal. Consequently, it doesn’t matter that the plotline’s predictable and derivative, as the overall production is so boisterously entertaining. 

Based on a story by James Ellroy, this routine police thriller is given some much needed impact by the muscular performance of Kurt Russell. Set in the run-up to the LA riots, it follows Russell’s uncompromising cop as he keeps the peace with extreme prejudice, carrying on the corruption that has been handed down through generations in the face of a new, more officious breed of policeman (represented here by Ving Rhames). It’s a well trodden beat — related better in the likes of Internal Affairs — and the overfamiliar story is marred by obvious plotting, grating dialogue and a distinct lack of rounded characterisations. However, it comes to life when Russell is on the screen, fully inhabiting his monstrous character and never attempting to engage our sympathies. 

Right from its dazzling opening — Robert Mitchum narrating over silent western, black-and-white footage, accompanied by Bruce Broughton’s expectant score, before the screen explodes into colour — this take on the Wyatt Earp legend never shifts out of top gear. While the darker aspects of Earp’s character are fleshed out in the modern manner, and while flesh itself is ripped apart by buzzing bullets at the OK Corral, this is very much a traditional western (well, post-spaghetti and post-Peckinpah) and far preferable to the rather self-important and overlong Kevin Costner version, Wyatt Earp, released later the same year. Kurt Russell makes a satisfyingly equivocal hero and Val Kilmer has a field day in the showier role as the consumptive Doc Holliday. Cameo appearances by Charlton Heston and Harry Carey Jr add to the general feeling of a saddleworn genre being paid the most viscerally thrilling and generous of tributes. The film was sharply scripted by Kevin Jarre, who was abruptly sacked as director and replaced by George Pan Cosmatos, a man of no reputation who suddenly came up smelling of roses. 

This charming throwback to the screwball comedies of the 1930s is one of the better vehicles designed for Goldie Hawn. She plays a pampered heiress to a fortune, who loses her memory after falling off her luxury yacht. Carpenter Kurt Russell, who had clashed with her earlier, sees the chance for revenge and convinces her that she is his wife. The chemistry between the two stars (a couple in real life) is complemented by the performances of an experienced supporting cast that includes Katherine Helmond, Roddy McDowall and Edward Herrmann. It’s slickly directed by Garry Marshall, who juggles the sharp repartee and knockabout slapstick with ease.