Bovie Movie

Two people discover just how true the old adage “lucky in life, unlucky in love” can be in this romantic comedy. Ashley (Lindsay Lohan) has always been the sort of girl fortune smiles upon — she’s pretty, she has a great job, she had good friends, guys fall over themselves to ask her out, and she never has trouble getting a cab. Jake (Chris Pine), on the other hand, is not nearly so lucky — he’s clumsy and accident prone, things never seem to go his way, and he’s just lost his job at a bowling alley. However, these two opposites meet one night at a ritzy masquerade ball, and Ashley and Jake exchange an impulsive kiss as two shooting stars cross in the sky. Suddenly, they both find their luck taking a one hundred and eighty degree turn; Jake is befriended by a wealthy musician and suddenly finds himself successful and flush with cash, while Ashley loses her job and her apartment after a major misunderstanding with the police. While Jake’s luck with women has also taken a turn for the better, he’s become deeply infatuated with Ashley, and tries to help her turn her life back around as he struggles to win her heart. Just My Luck also stars Samaire Armstrong, Faizon Love, and Tovah Feldshuh.

Paul Greengrass (The Theory of Flight) wrote and directed this powerful look at January 30, 1972 — better known as “Bloody Sunday.” Ivan Cooper (James Nesbitt) attempts to organize a peaceful protest after Protestant leaders imprison Catholics without a trial. His actions conflict with hard-line IRA members who have no interest in a “peaceful” response, as well as the military men responsible for keeping the peace who are led by Major General Robert Ford (Tim Pigott-Smith) and Brigadier Patrick Maclellan (Nicholas Farrell). By the end of the day, the military will fire on the protestors and kill 13 people. The events of this day still haunt the peace process in Ireland. Bloody Sunday was screened at the 2002 Sundance Film Festival.

Acclaimed filmmaker Robert Altman (Short Cuts, Nashville) brings National Public Radio stalwart Garrison Keillor’s long-running radio program to vivid life on the big screen in a intricately woven backstage fable centering on the final performance of a fictionalized version of his variety show. As if the result of some strange mass-media fluke, the popular radio program A Prairie Home Companion somehow managed to survive the television age to entertain its audience every Saturday night from the stage of the historic Fitzgerald Theater in St. Paul, MN. Week after week, hangdog host Garrison Keillor serves as unflappable emcee to an amiable hodgepodge of radio-friendly acts that include the likes of popular country duo Yolanda and Rhonda Johnson (Meryl Streep and Lily Tomlin) and singing cowboys the Old Trailhands (Woody Harrelson and John C. Reilly). This is one show where the under-the-line antics are nearly as entertaining as the program itself, though, and in between the efforts of down-on-his-luck private dick and backstage doorkeeper Guy Noir (Kevin Kline) to discover the true identity of a mysterious blonde (Virginia Madsen) and aspiring teen singer Lola (Lindsay Lohan) to find her true voice before a live audience, there’s still plenty of fun and mystery to be had at the old Fitzgerald before the final curtain falls on A Prairie Home Companion.

Prolific television director Gary Nelson made the Walt Disney live-action comedy Freaky Friday, based on the novel by Mary Rodgers. Barbara Harris stars as suburban housewife Ellen Andrews, the wife of Bill (John Astin) and the mother of Annabel (Jodie Foster) and Ben (Sparky Marcus). Ellen just can’t understand what’s going on with teenaged Annabel, who hangs around the house making snappy remarks, eating ice cream for breakfast, and calling her brother Apeface. They each make a separate wish to be in the other’s place, and they get their wish on Friday 13th. Ellen has to go through the day as a kid, playing on the field hockey team and dealing with typing class. Annabel has to deal with grown-up problems like getting appliances fixed and preparing a banquet. The whole silly story ends with a wacky car-chase/water skiing/hang-gliding conclusion in keeping with other Disney movies of the day. Freaky Friday was remade twice with the same title, and spawned a whole subgenre of body-switching movies in the 1980s.

Jane Fonda, Felicity Huffman, and Lindsay Lohan star in director Garry Marshall’s tale of a rebellious young woman who is sent to spend the summer with her grandmother when her frustrated mother fails to find a means of curbing her unruly behavior. Rachel (Lohan) is an out-of-control teen whose reckless drinking, foul mouth, and hysterical fits have become a constant source of embarrassment for her long-suffering mother, Lily (Huffman). When Rachel crashes her car, Lily determines that the only way to tame her savage daughter is to take her as far away from San Francisco as possible. Though Lily had once sworn never to return to the Idaho farm presided over by her demanding mother, Georgia (Jane Fonda), desperation has a funny way of dulling the pains of the past, and it’s not long before Lily is packing Rachel in the car and setting out for potato country. Contrary to the common image of the sweet and doting grandmother, Georgia is a stern matriarch whose beliefs in the power of God and a hard day’s work stand in stark contrast to the carefree lifestyle of the tempestuous Rachel. An interesting thing happens as the summer wears on, though; despite her initial efforts to disrupt the quiet Mormon community, Rachel’s rage is gradually tempered as she learns the value of structure and responsibility. Later, as Rachel’s protective walls begin to crumble and she begins to embrace compassion and kindness, the doors are opened for three generations of family to confront the long-buried secrets of their past and finally move forward in the healing process.

Lindsay Lohan stars in the mind-bending psychological thriller I Know Who Killed Me. She plays Aubrey Fleming, an unfortunate young woman whose life — and body — are irreparably damaged following an abduction by a heinous serial killer. Though Aubrey pulls off a miraculous escape from the clutches of the madman, she does so with deep-seated psychological scars, plus the loss of a hand, a leg, and untold amounts of blood. While Aubrey’s parents view her return as a veritable answer to their prayers, they must soon confront an outrageous and seemingly inexplicable twist: the girl who returned claims another identity — that of a young woman named Dakota. She also exhibits a wholly different personality and mannerisms than Aubrey did, and — frighteningly — insists that Aubrey is still very much alive, in the throes of the maniac’s grip, and only inches away from death.