Bovie Movie

A family is touched by the shadows of hatred and violence in this Australian drama adapted from a short story by Raymond Carver. Stewart (Gabriel Byrne) and Claire (Laura Linney) are a married couple in their early 40’s; Stewart runs a gas station while Claire looks after their son Tom (Sean Rees-Wemyss). Tom has been grounded for the weekend after killing a small animal with his friend Caylin (Eva Lazzaro), and Claire keeps an eye on him while Stewart goes off on a fishing trip with his pals Carl (John Howard), Rocco (Stelios Yiakmis) and Billy (Simon Stone). After arriving at their favorite fishing spot, Stewart finds the naked body of a woman floating down the river; unknown to him, Gregory (Chris Haywood), an elderly man riddled with race hatred, killed Susan (Tatea Reilly), a young woman of Aboriginal heritage, and dumped her body in the water. Believing they wouldn’t be able to drive to town to report finding the body and get back to make camp before nightfall, Stewart decides to wait until morning to contact the police, and ties a line to the corpse so it won’t float away. The next morning, Stewart and his friends decide not to spoil their trip and spend the day fishing; they don’t contact the police until after they return home on Monday. Stewart’s callous actions cast an ugly light on himself, his friends and his family, and Claire finds herself implicated in the crime through Stewart’s poor judgment. Named for an Aborigine word for a valley, Jindabyne received its world premiere at the 2006 Cannes Film Festival.

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.

Jonathan Demme directed this updated remake of John Frankenheimer’s 1962 cult favorite The Manchurian Candidate, a pioneering examination of political conspiracy and psychological reconditioning. Major Bennett Marco (Denzel Washington) and Sergeant Raymond Shaw (Liev Schreiber) are two soldiers who served in the same company during Operation Desert Storm, but their paths following their tours of duty have been very different. Shaw, the son of powerful congresswoman Eleanor Shaw (Meryl Streep), has used his reputation as a war hero to quickly scale the ladder of American politics, and with the help of his mother earns the Vice Presidential nomination. Marco, on the other hand, has been troubled with mental illness, and is convinced that something strange happened to him and his compatriots during the war. As Marco struggles to find the truth behind his nightmares and emotional torment, he unearths some disturbing facts about how his mind and body have been reworked by shadowy forces, as well as those of his fellow soldiers — including Raymond Shaw. Featuring a stellar supporting cast (including Jon Voight, Miguel Ferrer, Ted Levine, and Dean Stockwell), The Manchurian Candidate credits George Axelrod’s screenplay for the 1962 film as its source, as opposed to Richard Condon’s 1959 novel from which Axelrod adapted his script.

Tobe Hooper, who directed one of the truly iconic American horror films of the 1970s, The Texas Chainsaw Massacre, offers his take on another well-remembered scare-fest of the era with this remake. Steve (Brent Roam) and Nell (Angela Bettis) are a young couple living in Los Angeles who are short on money — she’s just started work as a teacher, while he’s a medical student doing his internship. They rent a flat in the Lusman Arms, a once beautiful but now decaying (and therefore affordable) apartment building managed by the sleazy Byron McLieb (Greg Travis), who tries to pass off the ramshackle accommodations as “charming” and “historic.” Watching over the Lusman Arms beside Byron is Ned (Adam Gierasch), a greasy simpleton who serves as the building’s handyman. Steve and Nell haven’t been living at the Lusman especially long when she notices that a growing number of young women living in the building have been meeting a violent death, and with some help from good-hearted part-time actor “Jazz” Rooker (Rance Howard), she begins looking into the murders and makes some disturbing discoveries about both the building management and her fellow tenants.

A thesp-turned-crook gets a chance at career in movies as well as crime scene investigation in this offbeat action comedy with nods to Raymond Chandler. Harry Lockhart (Robert Downey Jr.) is a struggling New York actor who high-tails it to Los Angeles. Once there, Lockhart winds up at the posh home of the aptly-named homosexual private eye Gay Perry (Val Kilmer) amid a lavish Hollywood party, hoping to score a life-changing role in a Hollywood feature. Harry becomes reacquainted with Harmony (Michelle Monaghan), a girl he had a major crush on in his small-town Indiana high school, who may be a bit more interested in him now than she was years ago. He takes both her and her girlfriend home with him, but - in a moment of drunken stupor - accidentally sleeps with the wrong woman. Meanwhile, when a series of female bodies turns up across L.A., Harry slowly breaks into detective work, mentored by Perry. The biggest twist? Black riffs Adaptation and other films by having Harry (via satirical narration) write the movie while he is living it. Harry assures the audience that unlike Lord of the Rings, this one won’t have seventeen endings. Kiss Kiss, Bang Bang marks the first directorial credit for Shane Black, who created the Lethal Weapon franchise.

One of the most highly regarded haunted house films ever produced, Robert Wise’s The Haunting (based on Shirley Jackson’s novel The Haunting of Hill House) weaves the dark tale of a questionably sane young woman and a sinister house which holds a terrifying past. Invited to join anthropologist Dr. Markway (Richard Johnson), ESP expert Theodora (Claire Bloom), and probable heir to the estate Luke Sanderson (Russ Tamblyn) in order to dispel the near mythical tales that surround the house, unstable Eleanor Vance (Julie Harris) agrees to spend a few nights in the house following the death of her mother. As they slowly begin to discover, the horrific and seemingly unbelievable tales may hold more truth than the skeptical guests might have previously expected. With a seemingly unstoppable supernatural force lurking in every shadow, the probability of anyone escaping the evil clutch of the cursed mansion seems increasingly remote.

When wireless technology puts humans into contact with an unstoppable force that’s determined to claim the lives of the living for the souls of the damned, it’s up to a group of determined teens to close the gate before it’s too late in director Jim Sonzero’s remake of Kiyoshi Kurosawa’s apocalyptic horror classic. A doorway between the human realm and the spiritual realm has been opened, and now the technology that once made humankind the ruler of the planet has become its digital Achilles heel. With every call made and every e-mail checked, life is slowly being stolen from the living and claimed for the dead. With no way of turning off the connection and no means of reasoning with a force they cannot understand, a desperate group of college students must discover a means of stopping the takeover before the entire planet is transformed into a cosmic haunting ground for wayward souls in search of a home.

Director David Fincher followed the success of his dark and atmospheric crime thriller Seven (1995) with another exercise in stylish film noir, this time lifting the pallid atmosphere a notch to indulge in a fast-paced trip through the cinematic funhouse. Michael Douglas plays Nicholas Van Orton, a Scrooge-like San Francisco investment banker following in his father’s Scrooge-like footsteps. On Nicholas’s 48th birthday (the age at which his father committed suicide), his younger, free-spirited brother Conrad (Sean Penn) blows into town and gives Nicholas a special gift for “the man who has everything” — a ticket to CRS (Consumer Recreation Services), a company that constructs games custom-fit for each participant to provide, as CRS salesman Jim Feingold (James Rebhorn) cryptically puts it, “whatever is lacking.” Nicholas’s secure life begins a downhill slide as CRS masterminds a series of elaborate pranks, harmless at first, that quickly become malicious and life-threatening. Stripped of financial resources and convinced that he can trust no one, Nicholas begins to wonder if CRS is a front for a more covert operation, and if the game is in fact an attempt to steal his fortune and leave him for dead. Determined to fight back alone, Nicholas infiltrates CRS in order to “pull back the curtain and meet the wizard.

A remake of the Spanish film Open Your Eyes (1997), this thriller from director Cameron Crowe bears one of several discarded titles for his previous, Oscar-winning film Almost Famous (2000). Tom Cruise stars as David Ames, a womanizing playboy who finds romantic redemption when he falls in love with his best friend’s girlfriend Sofia (Penelope Cruz, reprising her role from the original film). Before that relationship can begin, however, David is coaxed into a car driven by an ex-lover, Julie (Cameron Diaz), who turns out to be suicidal. Driving her car off a bridge, Julie kills herself and horribly disfigures David. Reconstructive surgery and the loving support of Sofia seem to reverse David’s luck, but eerie incidents are soon making him question the reality of his existence and his control over his life, even while he is suspected of complicity in Julie’s death. Vanilla Sky (2001) bears the expected Crowe trademark of an obsession with recent pop culture and particularly rock music, a more important element of the remake than the original film. That project’s writer/director, Alejandro Amenabar, crafted his own supernatural hit the same year with The Others (2001), starring Nicole Kidman, the soon-to-be-ex-wife of Cruise.

Directed by Gregory Hoblit (Primal Fear), Fallen is a blend of the police drama and supernatural thriller genres. Homicide detective John Hobbes (Denzel Washington) narrates, taking the audience back to “the time I almost died.” This sets a flashback in motion, beginning at the prison cell of serial killer Edgar Reese (Elias Koteas), who grabs Hobbes’ hand and sings the Rolling Stones’ “Time Is on My Side.” After Reese is executed, Hobbes and his partner, Jonesy (John Goodman), find a seeming copycat killer, committing murders in a manner not unlike Reese. Hobbes is drawn into the occult after he meets theology professor Gretta Milano (Embeth Davidtz), the daughter of a dead police officer. Hobbes becomes a suspect himself, but he continues his search for the truth. Co-producer Dawn Steel died just as this film was due for release.