Bovie Movie

From director Jim Abrahams, one of the minds behind the Airplane! and Naked Gun films, comes another parody. This time around, Abrahams has his sights set on the action-adventure genre, specifically Top Gun. Charlie Sheen stars as Topper Harley, a maverick air force pilot who constantly lives in the shadow of his father’s legacy. Unable to handle the pressure, Harley has left the Air Force to live among a tribe of Native Americans. But when the United States seeks to destroy some Iraqi nuclear facilities, there’s only one man for the job. After being coaxed back into service, Harley soon realizes that in addition to Saddam Hussein, he’ll have to contend with a rival pilot, played by Cary Elwes, and a devious aerospace executive. Among the many films lampooned are Dances With Wolves, 9 1/2 Weeks, The Fabulous Baker Boys, and Gone With the Wind.

Leslie Nielsen returns as the intrepid (and accident-prone) Lt. Frank Drebin in Naked Gun 2 1/2: The Smell of Fear, “un film de David Zucker.” This second feature film from the “Police Squad!” series finds Drebin as a guest at a White House dinner, receiving an award for shooting his 1,000th drug dealer, although he admits to shooting only 998 — he ran over the last two in his car. (”Luckily, they turned out to be drug dealers”). Also at the White House dinner is energy czar Dr. Albert S. Meinheimer (Richard Griffiths), whom President George Bush (John Roarke) has chosen to start a new national energy policy. Since Meinheimer believes in promoting alternative energy resources, the evil leaders of the polluting energy industries (coal, oil, and nuclear power–or the lobby groups SMOKE, SPILL and KABOOM) are horrified at Bush’s choice. Joining together with arch-villain Quentin Hapsburg (Robert Goulet), they plan to kidnap the real Meinheimer and substitute a fake Meinheimer in his place who will enact energy policy according to the dictates of the energy lobby. Drebin becomes deeply involved in the conspiracy when he runs into his ex-girl friend Jane (Priscilla Presley), who is not only Meinheimer’s public relations director but also Hapsburg’s current paramour.

Inspired more by the 1960s TV series than by the original Charles Addams New Yorker cartoons, The Addams Family proved to be one of the more successful of the TV shows-turned-movies of the 1990s. The film opens on a recreation of the magazine cartoon wherein the ghoulish Addamses prepare to pour hot oil upon a group of merry Christmas carolers. After a series of vignettes which establish the characters of Gomez (Raul Julia), Morticia (Anjelica Huston), Wednesday (Christina Ricci), Pugsley (Jimmy Workman) and family servants Lurch (Carel Struycken) and Thing (Christopher Hart), the plot proper gets under way. A stranger, played by Christopher Lloyd, shows up on the Addams doorstep, claiming to be long-lost Uncle Fester. It appears, however, that Lloyd is a ringer, in cahoots with attorney Tully Alford (Dan Hedaya) to strip the Addamses of their fortune. In their usual against-the-grain fashion, the Addams Family seems to delight in the possibility that they’re being hoodwinked-indeed, not even kidnapping or death threats dampen the Addams clan’s joy of living (or should we say dying?). The Addams Family served as the directorial debut of cinematographer Barry Sonnenfeld.

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.

Steven Spielberg filters J. M. Barrie’s Peter Pan through a distinctly 1990s sensibility in Hook. Peter Pan has become Peter Banning (Robin Williams), a 40-year-old mergers and acquisitions lawyer with a permanent scowl on his face and a cellular phone in his belt. Banning has lost any memory of being Peter Pan, and he is also in danger of losing his wife Moira (Caroline Goodall) and two children, Jack (Charlie Korsmo) and Maggie (Amber Scott). Peter and his family travel to London to visit Granny Wendy (Maggie Smith) who recalls Peter’s lost youth and asks him, “Peter, dear, don’t you know who you are?” With Peter’s children asleep in the same bedroom where the original Peter Pan story began, there is a blinding flash. Peter comes into the room to discover a note from Captain Hook (Dustin Hoffman), informing Peter that he has kidnapped his children. Granny Wendy now tells him who he really is and encourages him to re-discover his happy thoughts, transform himself into the Peter Pan of the past, and go rescue his children. With the encouragement of Tinkerbell (Julia Roberts), Peter recalls the birth of his son and once again takes wing. Then it’s off to Never Land to rescue his kids.

If a comedy is to be made from the plight of the homeless, who have to scrape through their days returning deposit bottles and cleaning car windshields to get their daily bread as the rich get richer and more heartless, it may as well be Mel Brooks’ Life Stinks. The trademark Brooks humor dominates this fable about a ruthless billionaire, Goddard Bolt (Mel Brooks), who wants to obliterate a poor section of Los Angeles and build a high-tech commercial center in its place. His only problem is that he owns only half the land needed for the construction, the other half belonging to equally ruthless billionaire Vance Craswell (Jeffrey Tambor), who has his own ideas for the land. The two try to buy each other out until, finally, a deal is struck: Craswell bets that Bolt cannot survive a month on the streets as a homeless man. If Bolt makes it, he gets the property. If he doesn’t, Craswell gets it. Bolt agrees and, as a poor man, he begins to feel the pain of being uprooted and alone, even meeting a friendly homeless woman, Molly (Lesley Ann Warren) with whom he forms an attachment.

John Hughes dishes out the sentiment by the ladle-full in Curly Sue. The film stars James Belushi as Bill Dancer, a down-on-his-luck drifter who lives by his wits on the highways and byways of the United States, stealing free meals, slipping into movie theaters, and sleeping in welfare hotels. Bill is also the guardian of cute pint-size moppet Curly Sue (Allison Porter), a cutey pie cross between Little Orphan Annie and Tatum O’Neal’s Addie Loggins character from Paper Moon. Bill and Curly Sue are a perfect con team, and they practice their scams when they need money for food. Pulling a knockdown car-accident scam, Bill makes hard-bitten Chicago lawyer Grey Ellison (Kelly Lynch) think that she slammed into him with her car. She buys dinner for the two mountebanks before being taken away by her snotty boyfriend Walter McCormick (John Getz). But the next morning, Grey actually does hit Bill with her car, and she takes the two back home with her. At first, Grey can’t seem to get Curly Sue out of her mind, but then she finds herself falling in love with Bill. They begin to form a perfect family until Walter puts in a call to the Department of Children and Family Services.

Neil Simon forgoes his typical urban East Coast kvetchers and replaces them with sunny Californian kvetchers in The Marrying Man, a film which became a beacon of gossip in 1991 due to the alleged shenanigans of stars Alec Baldwin and Kim Basinger), who fell in love during production. Simon based his script on a true story concerning the love affair between shoe tycoon Harry Karl and actress Marie (The Body) McDonald during the 1950s. Married to each other four times, McDonald still managed to carry on an affair with mobster Bugsy Siegel. In this Simon-ized version, Baldwin plays Charley Pearl, a sharp and handsome Hollywood millionaire, engaged to Adele Horner (Elisabeth Shue), the daughter of dyspeptic movie studio executive Lew Horner (Robert Loggia). The day before their wedding, Charley heads off to Las Vegas for a bachelor party, and in a sleazy casino on the outskirts of town, he sets his eyes on sexy singer Vicki Anderson (Basinger) and falls for her hard. He wants her immediately and even though she warns him she’s the property of Bugsy Siegel (Armand Assante), he crawls into her bedroom window to be with her. Caught with his pants down by Siegel, Bugsy, instead of killing him, forces him to marry Vicki (”I was about to dump her anyway,” he says). But after their marriage, Charley and Vicki discover they’re more attracted to the danger of their relationship than in each other. Charley’s friends — Phil (Paul Reiser), Sammy (Fisher Stevens), Tony (Peter Dobson), and George (Steve Hytner) — form a Greek chorus commenting on the crazed love affair and are reportedly inspired by Phil Silvers, Sammy Cahn, Tony Martin, and Leo Durocher.