Bovie Movie

In this military courtroom drama based on the play by Aaron Sorkin, Navy lawyer Lt. Daniel Kaffee (Tom Cruise) is assigned to defend two Marines, Pfc. Louden Downey (James Marshall) and Lance Cpl. Harold Dawson (Wolfgang Bodison), who are accused of the murder of fellow leatherneck Pfc. William Santiago (Michael de Lorenzo) at the U.S. Navy base at Guantanamo Bay, Cuba. Kaffee generally plea bargains for his clients rather than bring them to trial, which is probably why he was assigned this potentially embarassing case, but when Lt. Commander JoAnne Galloway (Demi Moore) is assigned to assist Kaffee, she is convinced that there’s more to the matter than they’ve been led to believe and convinces her colleague that the case should go to court. Under questioning, Downey and Dawson reveal that Santiago died in the midst of a hazing ritual known as “Code Red” after he threatened to inform higher authorities that Dawson opened fire on a Cuban watchtower. They also state that the “Code Red” was performed under the orders of Lt. Jonathan Kendrick (Kiefer Sutherland). Kendrick’s superior, tough-as-nails Col. Nathan Jessup (Jack Nicholson), denies any knowledge of the order to torture Santiago, but when Lt. Col. Matthew Markinson (J.T. Walsh) confides to Kaffee that Jessup demanded the “Code Red” for violating his order of silence, Kaffee and Galloway have to find a way to prove this in court. A Few Good Men also features Kevin Bacon as prosecuting attorney Capt. Jack Ross and Kevin Pollak as Kaffee and Galloway’s research assistant, Lt. Sam Weinberg.

John Dahl directed and co-wrote (along with his brother Rick Dahl) this quirky and energetic film noir that, after a well-received screening at the Toronto Film Festival, was consigned to oblivion before resurfacing on cable television. When the owner of a San Francisco movie theater, who was a big fan of the film, arranged for a theatrical release, the film clicked and toured the country as an art house hit. The film concerns eternal loser Michael (Nicolas Cage), down to his last five dollars and looking for work. He finds himself at a bar in the town of Red Rock. The bartender, Wayne (J.T. Walsh) eyes him suspiciously and asks him, “You must be Lyle, from Dallas.” Michael, eager to earn some cash, agrees. It seems Wayne has a job for Michael, but what Michael doesn’t realize until too late is that the job is to kill Wayne’s wife for $10,000. Michael heads out to Wayne’s farm with the cash to warn Wayne’s wife, Suzanne (Lara Flynn Boyle). Suzanne responds by offering to double Michael’s fee if he will kill her husband instead. Michael takes the money and tries to leave town, but when a thunderstorm comes up, he runs over a man who was trying to flag him down. The sheriff arrives on the scene to attend to matters — who turns out to be Wayne. Wayne proceeds to drive Michael out of town for an execution, but Michael manages to elude him. Flagging down a driver on the road who is driving back into Red Rock, they return to the bar, where the driver offers to buy Michael a drink. As Michael accepts the offer of a drink, he realizes that he is drinking with the real “Lyle from Dallas” (Dennis Hopper) who is awaiting Wayne’s return.

A man finds himself living among the animals and enchanted spirits of the rainforest, and learns of the true consequences of human destruction in this animated adventure. Crysta (voice of Samantha Mathis) is a young fairy who is being tutored in the powers of magic by the older and wiser Magi (voice of Grace Zabriskie) in an Amazon rain forest. While their home was once on the verge of destruction thanks to the evil spirit Hexxus (voice of Tim Curry), the demon has been trapped inside a tree, and Crysta is free to play with her friends Batty Koda (voice of Robin Williams), a bat who escaped from an animal testing facility, and Pips (voice of Christian Slater), who has obvious romantic intentions toward the attractive young sprite. However, a clear-cutting crew destroys the tranquil peace of the rainforest, and when Crysta sees a runaway logging machine about to run over lumberjack Zak (voice of Jonathan Ward), she saves his life by shrinking him to her own size. However, Crysta isn’t able to bring Zak back to his normal size, so he’s forced to live among the forest creatures and learn first-hand the devastation the humans have brought to this world — especially when the loggers accidentally free Hexxus from captivity.

“I am….Drac-u-la. I bid you velcome.” Thus does Bela Lugosi declare his presence in the 1931 screen version of Bram Stoker’s Dracula. Director Tod Browning invests most of his mood and atmosphere in the first two reels, which were based on the original Stoker novel; the rest of the film is a more stagebound translation of the popular stage play by John Balderston and Hamilton Deane. Even so, the electric tension between the elegant Dracula and the vampire hunter Professor Van Helsing (Edward Van Sloan) works as well on the screen as it did on the stage. And it’s hard to forget such moments as the lustful gleam in the eyes of Mina Harker (Helen Chandler) as she succumbs to the will of Dracula, or the omnipresent insane giggle of the fly-eating Renfield (Dwight Frye). Despite the static nature of the final scenes, Dracula is a classic among horror films, with Bela Lugosi giving the performance of a lifetime as the erudite Count (both Lugosi and co-star Frye would forever after be typecast as a result of this film, which had unfortunate consequences for both men’s careers). Compare this Dracula to the simultaneously filmed Spanish-language version, which makes up for the absence of Lugosi with a stronger sense of visual dynamics in the lengthy dialogue sequences. In 1999, a special rerelease of Dracula was prepared featuring a new musical score written by Philip Glass and performed by The Kronos Quartet.

Andrew Davis directed this exciting thriller starring Steven Seagal, sans ponytail, and featuring electric, over-the-top performances by Gary Busey and Tommy Lee Jones. This action saga takes place on the battleship USS Missouri, about to be decommissioned from service after a visit from George Bush. When Bush departs the vessel, a band of terrorists overcome the remaining skeleton crew and take over the ship, under the ruse of holding a surprise birthday party for the ship’s commander, Captain Adams (Patrick O’Neal). The band is led by Strannix (Jones), a disgruntled ex-CIA operative, and his right-hand man, the psychotic Krill (Busey). The terrorists plan to steal the ship’s store of nuclear warheads, transfer them to a stolen North Korean submarine, and sell them to a Middle Eastern country. Unfortunately for Strannix, he has overlooked the ship’s cook, Casey Ryback (Seagal). Ryback is a much-honored Navy SEAL who, because of a minor scandal, is quietly completing his twenty-year tour in the galley of the Missouri. Forced into action, Ryback, along with the woman who jumped out of Captain Adams’ birthday cake (Erika Eleniak), knocks off the bad guys one-by-one while crawling inside the bowels of the ship.

This cold, stylish erotic-thriller grossed over $100 million at the box-office despite vigorous protests at its depiction of gays and women. The shocking opening sequence features a graphic sexual encounter involving a rock-star bound with a white Hermes scarf by an unidentified blond woman. Despite the fact that the scene ends with a bloody icepick murder (horrifyingly realized by makeup artist Rob Bottin), Hermes scarves quickly sold out at stores nationwide. This seeming paradox is at the heart of the film’s appeal, as it mixes perverse sexuality and erotic bloodshed in a manner common to European thrillers (director Paul Verhoeven had done it himself in 1979’s marvelous De Vierde Man) but mostly taboo in America. The plot concerns Catherine Tramell (Sharon Stone), a successful bisexual mystery writer who may also be a ruthless murderer. Everyone close to Catherine dies, and troubled policeman Nick Curran (Michael Douglas) must find out why. In the process, Nick becomes sexually involved with both Catherine and police psychiatrist Beth Gardner (Jeanne Tripplehorn), while the bodies begin piling up and Catherine turns the cat-and-mouse game around on Nick. Verhoeven and screenwriter Joe Eszterhas — who was paid $3 million for the script — keep the tension ratcheted up throughout, even during the frequent sex scenes, which carry a violent edge reminiscent of the Italian thrillers of Dario Argento. The film’s most notorious scene, a police interrogation in which Catherine makes drooling idiots out of her captors by revealing that she is not wearing underwear, became a cultural touchstone and was widely imitated and parodied. Sharon Stone, meanwhile, was embarrassed to the point that she claimed Verhoeven had aimed lights on strategic locations without her knowledge. George Dzundza and Dorothy Malone co-star.

Night and the City is a remake of the 1950 Richard Widmark vehicle of the same name. Major changes: As played by Robert DeNiro, the Widmark character, one Harry Fabian, is no longer merely a two-bit tout but instead a two-bit lawyer; and the film is set in New York, as opposed to the London setting of the original. While embroiled in a lawsuit involving a boxer, Fabian becomes fascinated in the world of championship prizefights. Always susceptible to get-rich-quick schemes, Fabian tries to organize his own big boxing event, but to do that he needs the help of hardnosed promoter Alan King–and to get to King, Fabian uses the promoter’s father, former boxer Jack Warden, to act as front man. Fabian scurries around lying and double-dealing in order to sell percentages of the upcoming bout, while King warns Fabian of the consequences should anything unfortunate happen to the ailing Warden. Disaster plagues Fabian as his boxers fail to pass their physicals, and Warden dies while setting up the big event. Pursued by King and his creditors, the terrified Fabian is urged by girlfriend Jessica Lange to get of town. Instead, Fabian decides to face up to his failings for the first time in his life, and stands his ground for the final, fatal confrontation. Like the earlier Widmark film, the 1992 Night and the City is based on a novel by Gerald Kersh.

In Final Analysis, Richard Gere stars as Isaac Barr, a San Francisco psychiatrist whose alluring patient Diana Baylor (Uma Thurman) is being treated for traumatic memories. In order to find out more about her trauma, Diana suggests that Isaac speak to her sister and question her about what went on between them in the past. But when Isaac sets eyes on Diana’s sister Heather (Kim Basinger), they become involved in a torrid and steamy sex affair. Unfortunately, Heather is married to psychotic sadist Jimmy Evans (Eric Roberts).

Director Michael Mann based this lushly romantic version of the James Fenimore Cooper novel more on his memory of the 1936 film version (starring Randolph Scott) than on Cooper’s novel (in fact, Philip Dunne’s 1936 screenplay is cited as source material for this film). Set in the 1750s during the French and Indian War, the story concerns Hawkeye (Daniel Day-Lewis), the European-born adopted son of Mohican scout Chingachgook (Russell Means). Hawkeye and his party, which also includes the Mohican Uncas (Eric Schweig), joins up with a group of Britons who have recently arrived in the Colonies. The group consists of Cora Munro (Madeleine Stowe) and her younger sister, Alice (Jodhi May), who are rescued from a Huron war party by Hawkeye. Hawkeye’s band accompanies them to the British Fort William Henry, which is being besieged by a French and Huron force. The fort falls to the French, and Colonel Munro (Maurice Roeves) surrenders to French General Montcalm (Patrice Chéreau). The terms of the surrender are that the British merely abandon the fort and return to their homes. However, the French’s bloodthirsty ally, the Huron warrior Magua (Wes Studi), has made no such agreement, and, as the British retreat from the fort, he plans to massacre them in a terrible Huron attack.

Actor Robert De Niro started a production company to make films just like this one: stories which were unpopular with the establishment and which are unlikely to make a big splash at the box-office. Even so, this is a first-class production, and the filmmakers were the first to receive permission to film on the Pine Ridge (Sioux) Reservation in South Dakota, likely due to director Michael Apted’s having previously made an accurate and sensitive documentary about Indian political prisoner Leonard Peltier’s case, Incident at Oglala. The film did exactly as well as expected at the box-office but has since assumed greater importance as one of the tiny number of “mainstream” movies which faithfully and respectfully illuminate Native American issues. In the story, loosely based on the earlier documentary, Ray Levoi (Val Kilmer) is an ambitious up-and-coming FBI agent in the 1970s with great career prospects. The one thing he will not tolerate is any reference to his half-Indian heritage. As far as he is concerned, his loyalties and culture identify him with the government and his white mother. He is extremely touchy about anything to do with his father, who was an alcoholic full-blooded Sioux. However, the FBI wants to take advantage of his half-Indian blood to mend fences in a politically sensitive murder investigation, and it sends him exactly where he doesn’t want to go. Further, he is widely advertised as being Indian, though he knows virtually nothing about his heritage and has renounced it to the best of his ability. Once on the reservation, he becomes deeply involved in a truly messy state of affairs and is drawn into situations where he is forced to confront his background, native spirituality, and the duplicity of the government and its allies within the tribe. Despite his consistent prickliness about his heritage, his heart is in the right place, and the reservation’s sheriff (Graham Greene) and a wise spiritual elder (Chief Ted Thin Elk) patiently lead their unwilling FBI pupil on a soul-wrenching wild goose chase which paradoxically takes him straight to the heart of the matter.