Bovie Movie

A magazine article about real-life car racing gangs for Vibe becomes this fast-paced automotive thriller from director Rob Cohen. Paul Walker stars as Brian O’Conner, a youthful FBI agent investigating a series of hijackings by going undercover with a street gang led by charismatic Dominic Toretto (Vin Diesel). Caught up in Toretto’s world of gang conflict that is resolved in late-night car races, Spindler starts to sympathize with his chief suspect and falls in love with Toretto’s younger sister Mia (Jordana Brewster). In the meantime, Spindler initially suspects the wrong gang of complicity in the crimes he’s probing, while Toretto remains involved in a forbidden romance, à la Romeo and Juliet, with his girlfriend Letty (Michelle Rodriguez). The Fast and the Furious co-stars Ted Levine, Rick Yune, and Matt Schulze.

James Cox directs the sleazy Hollywood murder tale Wonderland, starring Val Kilmer as legendary porn star John Holmes. Using a non-linear plot structure, the film explores different perspectives of the quadruple homicide that occurred on July 1, 1981, in the Hollywood Hills. At the lowest point of his career and the height of his drug addiction, Holmes was implicated in the murders of the Wonderland gang: Ron Launius (Josh Lucas), Billy Deverell (Tim Blake Nelson), Barbara Richardson (Natasha Gregson Wagner), and Joy Miller (Janeane Garofalo). Launius’ wife, Susan (Christina Applegate), was the only survivor. Led by Detective Sam Nico (Ted Levine), the police investigation reveals a dark criminal underworld surrounding Holmes, his disapproving wife, Sharon (Lisa Kudrow), and his innocent teenage girlfriend, Dawn Schiller (Kate Bosworth). Eric Bogosian stars as notorious Hollywood nightclub owner Eddie Nash. Wonderland premiered at the 2003 Toronto Film Festival.

Yet another TV series is revived for the big screen, as Will Smith and Kevin Kline join forces as James T. West and Artemus Gordon, the most sophisticated government agents of the 1860’s, in the film adaptation of The Wild Wild West. West and Gordon represent two opposite ends of the personality scale: West is a smooth-talking charmer and man of action who prefers to shoot first and ask questions much, much later; while Gordon is intensely methodical and cerebral, with a genius for gadgets and mechanical innovations. They’re brought together by no less an authority than the President of the United States to track down an evil genius named Dr. Arliss Loveless (Kenneth Branagh). Loveless was once an honored military leader and inventor until one of his schemes went awry and left him paralyzed from the waist down. Driven mad by the experience, Loveless is determined to get revenge on the United States by assassinating the President, using a 60-foot tall mechanical spider. Assisting Loveless is a team of beautiful female criminals, Miss East (Bai Ling), Amazonia (Frederique Van Der Wal), Munitia (Musetta Vander) and Miss Lippenreider (Sofia Eng). As the initially suspicious West and Gordon learn to work together, they also find themselves helped by an attractive woman, Rita Escobar (Salma Hayek), who has her own bone to pick with Loveless. Wild Wild West reunites star Will Smith with director Barry Sonnenfeld, who previously worked together on the hit Men In Black (1997). Wild Wild West features a hip-hop theme song from one-time Fresh Prince Smith, along with a more traditional Western score from composer Elmer Bernstein.

Investigative TV journalist Max Brackett (Dustin Hoffman) suffers setbacks and winds up filing routine reports from Madeline, California. Max and his eager intern Laurie (Mia Kirshner) are doing a story at the local Museum of Natural History when a bigger story erupts. The Museum’s director, Mrs. Banks (Blythe Danner), refuses to talk to former museum security guard Sam Baily (John Travolta) about his firing due to budget cuts. Angered, Sam shoots a shotgun, accidentally hitting another security guard. Realizing he’s in the middle of breaking news, Max phones his supervisor (Robert Prosky) and goes to live coverage. A class of young children is visiting the Museum, and Sam holds them hostage. Sam’s link to the outside world is the opportunistic Max, who manipulates the situation, telling Sam what to say on camera. Within hours, as the event escalates to national interest, vendors arrive to hawk products at the museum grounds, while the entire country tunes in the ongoing coverage. The screenplay by Eric Williams and Tom Matthews (former managing editor of Boxoffice) is a technological updating of the 1951 Billy Wilder classic Ace in the Hole (aka The Big Carnival) about a scheming journalist (Kirk Douglas) who delays the rescue of a man trapped by a rockfall in order to continue his newspaper reports. Acknowledging the Wilder film, the name “Brackett” is an obvious nod to Charles Brackett, Wilder’s long-time collaborator. Filmed in Los Angeles and San Jose, where the San Jose Athletic Club served as the museum location site. Shown at the 1997 Denver Film Festival.

A successful career criminal considers getting out of the business after one last score, while an obsessive cop desperately tries to put him behind bars in this intelligent thriller written and directed by Michael Mann. Neil McCauley (Robert De Niro) is a thief who specializes in big, risky jobs, such as banks and armored cars. He’s very good at what he does; he’s bright, methodical, and has honed his skills as a thief at the expense of his personal life, vowing never to get involved in a relationship from which he couldn’t walk away in 30 seconds. Vincent Hanna (Al Pacino) is an L.A.P.D. detective determined to catch McCauley, but while McCauley’s personal code has forced him to do without a wife and children, Hanna’s dedication has made a wreck of the home he’s tried to have; he’s been divorced twice, he’s all but a stranger to his third wife, and he has no idea how to reach out to his troubled step-daughter. While McCauley has enough money to retire and is planning to move to New Zealand, he loves the thrill of robbery as much as the profit, and is blocking out plans for one more job; meanwhile, he’s met a woman, Eady (Amy Brenneman), whom he’s not so sure he can walk away from. The supporting cast includes Val Kilmer as Chris, one of McCauley’s partners; Ashley Judd as his wife Charlene; Jon Voight as Nate; Hank Azaria as Alan Marciano; and Henry Rollins as Hugh, who is beaten up by Hanna.

The spirit of the mega-hit Ghostbusters (1984) is intentionally recalled with this effects-heavy sci-fi comedy from the same director, Ivan Reitman, co-starring Dan Aykroyd and debuting on the 17th anniversary of the earlier film’s release. When a meteor bearing single-celled organisms crashes to the Earth, the life forms are initially confined to a cave. Before long the creatures are evolving at an exponentially rapid rate, resulting in fearsome aliens running amok and possibly spelling mankind’s doom, or at least the end of man’s domination over life on Earth. Investigating the phenomenon is a community college professor, Ira Kane (David Duchovny), his geologist friend Harry Block (Orlando Jones), wannabe fireman Wayne Green (Seann William Scott), and government scientist Allison Reed (Julianne Moore). Evolution also stars Ted Levine, Ethan Suplee, and Katharine Towne.

In this multiple Oscar-winning thriller, Jodie Foster stars as Clarice Starling, a top student at the FBI’s training academy whose shrewd analyses of serial killers lands her a special assignment: the FBI is investigating a vicious murderer nicknamed Buffalo Bill, who kills young women and then removes the skin from their bodies. Jack Crawford (Scott Glenn) wants Clarice to interview Dr. Hannibal Lecter (Anthony Hopkins), a brilliant psychiatrist who is also a violent psychopath, serving life behind bars for various acts of murder and cannibalism. Crawford believes that Lecter may have insight into this case and that Starling, as an attractive young woman, may be just the bait to draw him out. Lecter does indeed know something of Buffalo Bill, but his information comes with a price: in exchange for telling what he knows, he wants to be housed in a more comfortable facility. More important, he wants to speak with Clarice about her past. He skillfully digs into her psyche, forcing her to reveal her innermost traumas and putting her in a position of vulnerability when she can least afford to be weak. The film mingles the horrors of criminal acts with the psychological horrors of Lecter’s slow-motion interrogation of Clarice and of her memories that emerge from it.