Bovie Movie

An ex-cop trying to stay away from trouble finds it literally crashing into his backyard in this crime thriller. Dave Robicheaux (Alec Baldwin) is a former New Orleans police detective who, after kicking an addiction to alcohol and confronting some serious problems with his partners, has left law enforcement behind to run a bait shop in a small Louisiana bayou town. One day, Dave and his wife Annie (Kelly Lynch) see a small plane plummet from the sky and crash into the swamp; the pilot dies, but Dave is able to rescue a young Hispanic girl from the wreckage. Dave and Annie take the child in, but as they try to find out more about the plane crash and who the little girl might be, they discover that she’s actually an illegal alien from Salvador and that the pilot was involved with a local drug ring. Dave, constitutionally unable to let a mystery go unsolved, begins asking enough questions and making enough trouble that he finds himself on the bad side of his old High School friend Bubba Rocque (Eric Roberts). Bubba is a local crime boss who controls the area’s drug traffic, keeps a boxing ring in his front yard, and has a wife Claudette (Teri Hatcher) who enjoys greeting her guests naked. Dave’s inquiries eventually become too much for Bubba and his henchmen, and in the midst of a violent raid on their home, Annie is killed. Dave becomes obsessed with bringing Bubba and his men to justice and gets some unexpected help from Robin Gaddis (Mary Stuart Masterson), an exotic dancer with a heart of gold. While it was originally scheduled for release in 1994, Heaven’s Prisoners didn’t arrive on theater screens until two years later, by which time Teri Hatcher had risen to stardom on the TV series Lois and Clark: The New Adventures of Superman.

There’s not much to say about this effort, other than it may well appeal to very young children or people with a very, very soft spot for pigs.

The problem with the Legend of the Tamworth Two is that it does not clearly separate fact from fiction. A simple documentary presented in an appropriate fashion would have been a far more entertaining way of telling the story. That said, the parody of Quint from Jaws was engaging, briefly.

If you are a big Babe fan, this may be your cup of tea. If you’re not, it won’t be.

Big-budget special effects, swiftly paced action, and a distinct feminist subtext from writer/director James Cameron turned what should have been a by-the-numbers sci-fi sequel into both a blockbuster and a seven-time Oscar nominee. Sigourney Weaver returns as Ellen Ripley, the last surviving crew member of a corporate spaceship destroyed after an attack by a vicious, virtually unbeatable alien life form. Adrift in space for half a century, Ripley grapples with depression until she’s informed by her company’s representative, Carter Burke (Paul Reiser) that the planet where her crew discovered the alien has since been settled by colonists. Contact with the colony has suddenly been lost, and a detachment of colonial marines is being sent to investigate. Invited along as an advisor, Ripley predicts disaster, and sure enough, the aliens have infested the colony, leaving a sole survivor, the young girl Newt (Carrie Henn). With the soldiers picked off one by one, a final all-female showdown brews between the alien queen and Ripley, who’s become a surrogate mother to Newt. Several future stars made early career appearances in Aliens (1986), including Lance Henriksen, Bill Paxton, and Reiser.

Director Terry Gilliam adroitly applies his Monty Python sensibilities upon the “career” of famed German prevaricator Baron von Munchausen. Played herein by John Neville, the baron is seen quelling a war that he himself started, flying into the stratosphere on the back of a cannonball, ballooning to the moon, exploring the innards of a volcano, being swallowed by a whale….In short, all of Munchausen’s fabulous lies are here presented as “truth,” played out in full view of nonplussed witnesses Eric Idle, Charles McKeown, Jack Purvis, and Sarah Polley. Fringe benefits include several loving medium shots of jaybird-naked Uma Thurman as Boticelli’s Venus and an extended unbilled cameo by Robin Williams — that is, by the head of Robin Williams — as the King of the Moon. Filmed under considerable duress on a budget eventually exceeding 45 million dollars, The Adventures of Baron Munchausen never quite caught on with moviegoers, though it has enjoyed a lucrative afterlife on videocassette.

After years of wooing director John Huston via good reviews, film critic James Agee was given a chance to write the screenplay for a Huston picture. Adapted from a novel by C.S. Forester, The African Queen stars Humphrey Bogart in his Oscar-winning portrayal of Charlie Allnut, the slovenly, gin-swilling captain of a tramp steamer called the African Queen, which ships supplies to small East African villages during World War I. Katharine Hepburn plays Rose Sayer, the maiden-lady sister of a prim British missionary (Robert Morley). When invading Germans kill the missionary and level the village, Allnut offers to take Rose back to civilization. She can’t tolerate his drinking or bad manners; he isn’t crazy about her imperious, judgmental attitude. However it does not take long before their passionate dislike turns to love. Together the disparate duo work to ensure their survival on the treacherous waters and devise an ingenious way to destroy a German gunboat. The African Queen may well be the perfect adventure film, its roller-coaster storyline complemented by the chemistry between its stars. The profound difficulties inherent in filming on location in Africa have been superbly documented by several books, including one written by Katharine Hepburn. Screenwriter Peter Viertel (who worked, on an uncredited basis, on the script of this film - assisting with some of the dialogue) incorporated some of the African Queen anecdotes in his roman a clef about a Huston-like director/adventurer, White Hunter, Black Heart.

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.

In the mid-’90s, an Englishman by the name of Alan Conway (John Malkovich) conned many people into believing that he was the reclusive American director Stanley Kubrick, despite the fact that Conway was openly gay, bore no physical resemblance to Kubrick, and knew little about the director’s work. Conway’s story has been loosely adapted into the comedic feature Colour Me Kubrick. Anthony Frewin, who worked as Kubrick’s personal assistance for many years, wrote the script, and Brian Cook, who served as Kubrick’s assistant director on several films, including Barry Lyndon and Eyes Wide Shut, marks his directorial debut with the film. Colour Me Kubrick follows Conway on a number of adventures, wherein he cadges drinks, cash, sex, and more from unsuspecting victims, ranging from a heavy metal band to a wine bar owner (Richard E. Grant) to a British lounge singer (British television comic Jim Davidson making his feature-film debut), who are awestruck by his purported fame and fortune, and willing to overlook Conway’s genuinely bizarre behavior in the hopes of impressing the great director. Conway’s act reached its pinnacle when he temporarily pulled the wool over the eyes of then-New York Times theater critic Frank Rich (William Hootkins). Colour Me Kubrick features cameos by Ken Russell, Honor Blackman, Peter Sallis, and Marc Warren. The French production had its international premiere at the 2006 Tribeca Film Festival.

This acclaimed British comedy centers on the intermittent romance between a charming (if slightly bumbling) Englishman and a beautiful American woman, who seem to always run into each other at weddings. Indeed, it is at the first of the title’s four weddings that Charles (Hugh Grant) and Carrie (Andie McDowell) meet, enjoying a brief but fleeting connection. The spark is rekindled several months later, when they unexpectedly meet at another wedding. Unfortunately, however, Carrie has become engaged to another, a fact that complicates matters for them both. The story may seem simple, but the film is elevated by screenwriter Richard Curtis’ ear for witty dialogue and a colorful supporting cast. Director Mike Newell’s sympathetic attention to character keeps the proceedings believable, and prevents the film’s more serious moments from seeming mawkish. These elements, along with Grant’s star-making performance as Charles, helped the film achieve unexpected international success, including an Academy Award nomination for Best Picture.

The wind whispers ominous warnings of death before a malevolent entity arrives to claim the life of a young girl as director Courtney Solomon brings author Brent Monahan’s chilling, fact-based tale of supernatural murder to the screen in this tale of terror starring Donald Sutherland and Sissy Spacek. The year was 1818 and the Bell family was a quiet clan residing on a remote farm in Red River, Tennessee. A normal, loving family by all accounts, the uneventful lives of the Bell family began to take a dark turn when strange noises around the farm preceded the arrival of a black wolf with piercing yellow eyes said to strike unspeakable fear into the very soul of all who encounter it. As the sadistic spirit singles out the youngest daughter of the Bell family for torment and her frightened parents search frantically for a rational explanation to the chilling events unfolding in their once happy home, an eerie, disembodied voice promises death from beyond the grave. With the struggle rapidly turning violent and the Bell’s desperate prayers for mercy going unanswered time and again, the shocking murder that followed would prove the only case in recorded American history where the death of a human being was directly attributed to an attack by an evil entity or spirit.

A mute American working on a low-budget movie runs afoul of the Russian mafia in this internationally produced thriller. Billy (Marina Zudina), a special-effects makeup artist who is unable to speak, is in Moscow working on a cheapie slasher flick directed by Andy (Evan Richards), her sister’s boyfriend. Late one night, Billy returns to the set to pick up some equipment and stumbles on what appears to be the filming of an actual snuff film. Watching, unseen, as an “actress” (Olga Tolstetskaya) is bludgeoned to death before her very eyes, Billy flees the set, pursued by the snuff film’s crew. Eventually, she escapes and tells her story to her sister, Karen (Fay Ripley), and Andy. The film crew convinces the police that it was simply some special effects that Billy witnessed, then they start a deadly cat-and-mouse game with the hapless Americans. The intrigue soon leads Billy and her friends to “The Reaper” (Alec Guinness), the shadowy financier of an entire snuff-film underground. Director Anthony Waller’s screenplay for Mute Witness began as a tale of gangsters in 1930s Chicago, but he rewrote it to take advantage of Russia’s analogous present-day climate — and the country’s cheap sets and labor. Unexpected problems, from a diptheria epidemic to unexpected fines at the customs gate, nearly sank the production. The director convinced Guinness to appear in the film several years before principal photography began; the veteran thespian was paid nothing for his scenes, which were shot in a single morning in Germany.