Bovie Movie

Dutch (Arnold Schwarzenegger) has a code of honor which he will not violate, even when his life depends on it. Paradoxically, his code of honor gives him the backbone to survive as a military special forces operative when he is sent on a covert mission to rescue another group which was sent in to assist some nefarious U.S. government plan in a Latin American country. Once there, he encounters an old army buddy (Carl Weathers) who has gotten too deep in the CIA’s good graces for Dutch’s comfort. When he and his team go into the jungle to rescue the others, they get involved in a pitched battle with local guerillas, but they are more than capable of besting these vicious fighters. However, not long after that, they encounter signs that the equally capable men they were sent to rescue were all killed unawares and in an unusually gruesome fashion. Given their training, it should have been impossible for anyone to best all of these commando warriors. Soon, the men from Dutch’s own team get picked off one by one, as they grow aware that they are up against something uncanny, not of this world, something that is hunting them for sport. Why? Because their skills make them worthy opponents for the perfectly camouflaged Predator. This carefully paced action movie was given poor reviews by many movie critics, but was sufficiently satisfying for its (largely male) audiences that a successful sequel (Predator 2) was released in 1990.

The feature-film debut of multi-talented Clive Barker, this grim and surreal project is based on the writer-director’s own novella The Hell-Bound Heart. The film opens with a chilling prologue in which globe-trotting pervert Frank (Sean Chapman) — a connoisseur of sexual depravity seeking the ultimate sensual experience — purchases a small, intricate puzzle box from an unseen dealer in an unspecified country. Upon solving the puzzle, Frank opens the door to a hellish alternate universe and is promptly torn to ribbons by a network of hooks and chains; his strewn body parts are subsequently collected by the Cenobites — grotesque, S&M-clad denizens of hell. The story continues several years later, when Frank’s brother, Larry (Andrew Robinson), moves into Frank’s abandoned house with his daughter, Kirsty (Ashley Laurence), and his new wife, Julia (Clare Higgins). An accident causes some of Larry’s blood to spill on the attic floor, which somehow triggers Frank’s hideous resurrection. His body only half-composed, Frank seeks the tacit assistance of Julia — with whom he had once had a torrid sexual liaison — in restoring him to human form. Still secretly in love with Frank, Julia assists him by seducing men from the town and bringing them back to the house so her undead lover can drain their bodies of blood. Her increasingly furtive behavior arouses the suspicions of Kirsty, who had already moved to an apartment to get away from her despised stepmother. After following Julia and her next potential victim home, Kirsty comes face-to-face with the still incomplete Frank, narrowly escaping with her life…and with the puzzle box. After losing consciousness, Kirsty awakens in the hospital, where she manages to solve the box’s intricate mechanism and summon a trio of Cenobites — including their apparent leader (played by Doug Bradley and dubbed “Pinhead” on subsequent sequels) — who are prepared to claim her. In desperation, Kirsty offers them a bargain in which they agree to spare her soul if she leads them to Frank. Kirsty soon returns home to find Julia with her father… whose behavior has become disturbingly unnatural. Realizing that her father has become Frank’s next victim — and that her uncle is now walking around in his brother’s skin — Kirsty hands Frank over to the Cenobites, who have particularly evil plans for their old friend.

Detroit cop Axel Foley (Eddie Murphy) has seemingly smoothed out his differences with his Beverly Hills superior Bogomil (Ronny Cox), but there’s trouble ahead for both men, not to mention two other holdovers from the first Cop film, officers Rosewood (Judge Reinhold) and Taggart (John Ashton). The “untouchable” heavy this time out is masterminding a series of violent robberies, committed by leather-freak hoods Dean Stockwell and Brigitte Nielsen. Unaccumstomed to this nastiness, Bogomil entreats street-smart Foley to help find the miscreants. But mean-spirited chief of police Lutz (Allen Garfield) will brook no interference from outsiders-especially the profanely insouciant Mr. Foley.

Hazard of Hearts was adapted for television from a 1948 bodice-ripper by Barbara Cartland. Set (where else?) in 1810 England, the film stars Helena Bonham Carter as the obligatory innocent young lass with a dynamite figure. Falling in love with a Rochester-like Marquis (Marcus Gilbert), Helena is whisked off to the mysterious Castle Mandrake (”played” by England’s Belvoir Castle and Burghley House). Here, our heroine is menaced by Diana Rigg, the Marquis’ evil, possessive mother. First broadcast December 27, 1987, Hazard of Hearts was buried in the ratings by NBC’s repeat showing of Terms of Endearment (1983) and ABC’s telecast of Stir Crazy (1980).

Were it not for its profanity-laden opening scenes, John Hughes’ Planes, Trains and Automobiles might have been suitable family entertainment: certainly it’s heaps less violent and mean-spirited than Hughes’ Home Alone. En route to Chicago to spend Thanksgiving with his family, easily annoyed businessman Neal Page (Steve Martin) finds his first-class plane ticket has been demoted to coach, and he must share his flight with obnoxious salesman Del Griffith (John Candy). A sudden snowstorm in Chicago forces the plane to land in Wichita. Unable to find a room in any of the four-star hotels, Neal is compelled to accept Del’s invitation to share his accommodations in a cheapo-sleazo motel. Driven to distraction by Del’s annoying personal habits, the ungrateful Neal lets forth with a stream of verbal abuse. That’s when Del delivers the anticipated (but always welcome) “I don’t judge, why should you?”-type speech so common to John Hughes flicks. The shamefaced Neal tries to make up to Del, but there’s a bumpy time ahead as the mismatched pair make their way back to Chicago, first in a balky train, then by way of a refrigerator truck. We know from the outset that the oil-and-water Neal and Del will be bosom companions by the end of Planes, Trains and Automobiles, but it’s still a fun ride. The best bit: a half-asleep Del thinking that he’s got his hand tucked between two pillows — until his bedmate, Neal, bellows “Those aren’t pillows!”

Director Joe Dante infuses this science fiction comedy with the visual razzle-dazzle and manic, goofball performances typical of his cartoon-inspired sensibilities. Navy test pilot Lt. Tuck Pendleton (Dennis Quaid) has volunteered for a highly dangerous medical experiment. A submersible craft, with Tuck at the controls, is to be shrunk down to molecular size and inserted into the body of a living rabbit. If successful, the test could result in radical breakthroughs in surgical techniques, but some high-tech thieves attempt to steal Tuck and his ship while both are in miniature form. Enter Jack Putter (Martin Short), a mild-mannered, hypochondriac retail store clerk, a nerd who suddenly finds himself injected with Tuck and his tiny ship. Now poor Jack’s got to rise above his mundane existence to help an American hero get back to safety, while also trying to reunite Tuck with his beautiful estranged girlfriend Lydia (Meg Ryan). Innerspace (1987) won an Academy Award for Best Visual Effects.

Two women with serious differences are forced to look out for each other in this anarchic comedy. Sandy (Bette Midler) and Lauren (Shelley Long) are a pair of struggling actresses who don’t get along especially well — and are even less fond of each other when they discover that they’re both dating the same man, Michael (Peter Coyote). However, when Michael suddenly goes missing, they discover that he’s actually an espionage agent working with a foreign government, and as they set out to find him, they learn that he has implicated them in his schemes. Now Sandy and Lauren are stuck with each other as they look for Michael while trying to outrun the law. Outrageous Fortune also stars George Carlin as Frank, a burned-out ’60s holdover who the women meet along the way.

When speaking of Laurel and Hardy’s first feature film Pardon Us, Stan Laurel described it as “a three-story building on a one-story base”-in other words, a 2-reeler stretched and bloated into 6 reels. Much the same could be said of Blake Edwards’s Blind Date, though one wonders if Stan Laurel could have even gotten two reels out of its wafer-thin premise. At the outset, yuppie Bruce Willis is warned not to let his blind date, southern belle Kim Basinger, drink anything stronger than lemonade. So what does Willis do the first chance he gets? That’s right, kids; he plies poor Basinger with champagne. And then he wonders why his life rapidly goes to hell in a handbasket. In his first starring movie role, Bruce Willis manages to find all sorts of nuances in his one-note role, while Kim Basinger is very funny when she’s blotto-at least, for the first five minutes or so. John Laroquette costars as a character straight out of a 1920s bedroom farce; he’s also pretty good, even though his dialogue is numbingly unamusing. Blake Edwards is famous for his ability to make a lot out of a little…but there has to be a limit somewhere.

This screwball comedy casts real-life couple Kurt Russell and Goldie Hawn in a film that finds the latter returning to her roots in a role reminiscent of Private Benjamin (1980). Hawn stars as Joanna Stayton, a snooty heiress who summons carpenter Dean Proffitt (Russell) to her lavish yacht, where she wants an expanded closet constructed that will house her valuable wardrobe. When Dean fails to build the closet out of cedar, Joanna haughtily dismisses him without payment. Later, Joanna falls overboard and is struck by another boat, causing amnesia. Seeing her story on the news, Dean constructs an elaborate scheme to pretend that Joanna is his wife Annie. Soon, the former rich snob is cleaning Dean’s home and babysitting his four rambunctious boys. Although at first she’s a disaster, “Annie” grows into her role and begins to love being a mom and middle-class wife. When her real husband Grant (Edward Herrmann) comes looking for her, however, her memory is jogged, and she must decide between a life of privileged ease and a life of happy housework. Overboard was the feature film debut of writer Leslie Dixon, the granddaughter of famed photographer Dorothea Lange.

The time is the 1950s: seedy Brooklyn private eye Harry Angel (Mickey Rourke) is hired by shady Louis Cyphre (Robert De Niro) to locate a pop singer who reneged on a debt. Harry ventures into Harlem, the first step of a Heart of Darkness-inspired odyssey. Each time Harry makes contact with someone who might know the singer’s whereabouts, he or she is killed in a horrible, ritualistic fashion; a Satanic cult seems to be at the bottom of all the carnage. Harry solves the mystery, all right. He just didn’t know that he had the answer all along — even before Louis entered his office. Also available in the “unrated” video version, Angel Heart is best known as the film that nearly got an X-rating due to a no-holds-barred sex scene involving Mickey Rourke and Lisa Bonet.