Bovie Movie

Directed by Harry Basil, The 4th Tenor stars octogenarian Rodney Dangerfield as Lupo, a restaurant connoisseur who falls for a singing waitress named Gina (Annabelle Gurwitch). After finding out that Gina claims to be unable to love any man who doesn’t sing opera, the tone-deaf Lupo vows to learn. Wasting no time, he boards a plane headed for Italy and commences singing lessons with Vincenzo (Richard Libertini), a sketchy voice coach. What he doesn’t realize, however, is that Gina can’t tolerate him whether he can sing or not, and that this was merely her way of getting rid of him. Luckily, a beautiful young songstress named Rosa (real-life opera star Anita De Simone) takes pity on Lupo, and takes him to her rural, wine-making family. It turns out that their wine can transform even the worst singer into an opera extraordinaire. Initially determined to use his newfound talent in order to snare Gina, Lupo comes to realize that Rosa may be his true love after all.

It’s Christmas time in L.A., and there’s an employee party in progress on the 30th floor of the Nakatomi Corporation building. The revelry comes to a violent end when the partygoers are taken hostage by a group of terrorists headed by Hans Gruber (Alan Rickman), who plan to steal the 600 million dollars locked in Nakatomi’s high-tech safe. In truth, Gruber and his henchmen are only pretending to be politically motivated to throw the authorities off track; also in truth, Gruber has no intention of allowing anyone to get out of the building alive. Meanwhile, New York cop John McClane (Bruce Willis) has come to L.A. to visit his estranged wife, Holly (Bonnie Bedelia), who happens to be one of the hostages. Disregarding the orders of the authorities surrounding the building, McClane, who fears nothing (except heights), takes on the villains, armed with one handgun and plenty of chutzpah. Until Die Hard came along, Bruce Willis was merely that wisecracking guy on Moonlighting. After the film’s profits started rolling in, Willis found himself one of the highest-paid and most sought-after leading men in Hollywood.

Timothy Dalton is better in Licence to Kill than in his first James Bond endeavor (The Living Daylights), but he still seems uncomfortable on the right side of the law. This time around, Bond is working on his own rather than on behalf of the British Secret Service. His American friend Felix Leiter (David Hedison), an agent of the Drug Enforcement Administration, has been seriously injured by drug dealer Robert Davi, and 007 is out for blood. There is precious little time for the usual Bondian quippery and directorial campiness, resulting in a marked increase in bloodletting (including the “implosion” of secondary villain Anthony Zerbe). A climactic highway chase involving an oil tanker and a helicopter is stretched slightly beyond its value, but is still one of the best action setpieces in any Bond film. Licence to Kill was a refreshingly serious change of pace for the series, albeit one that tended to lessen Bond’s box-office value.