Bovie Movie

This movie starts out relatively straight with a diamond heist that goes wrong. Everything seemingly normal and slightly tedious, I thought.

The film then slides slowly by inches down the path towards B-movie insanity. The odd thing is, the weirder, gorier and more ridiculous things get, the funnier and more enjoyable it becomes as well.

This is not a dumb film and there is a consistent and thought out story that appears on film, despite the odd silly “rubber chicken” prop moment.

I didn’t have any qualms about the acting as the cast did a fantastic job staying in (dodgy Russian) character.

Whilst Brad does a good job keeping the audiences sympathy, supported ably by the very foxy Jamie Murray, a horror movie is only as good as its villains. They don’t disappoint and for me are the real stars of this movie with Boris the security guard running a very close second.

I was fortunate to see a special preview of Shadow Puppets. I don’t want to give away anything but I will say this: The movie keeps you in suspense from beginning to end, has a believable script, unique special effects, an original premise, and many jump-out-of-your-seat moments. The soundtrack and unusual sound effects increase the terror-level in many scenes. Jolene Blalock and James Marsters are excellent but newcomer Mark Winnick is an actor to watch: he has the best lines and delivers them with adorable ingenuousness. I will definitely see this movie again when it is released in theaters, and look forward to more films by director Michael Winnick.

Prolific television and film director Rod Hardy helms this tale of four young orphans coming of age in 1960s-era Australia. Soon after the quartet leaves the orphanage behind for a seaside holiday, rumors that one of them is about to be adopted lead to steadily rising tensions among the tightly knit group. Adapted from Michael Noonan’s popular novel by screenwriter Marc Rosenberg, December Boys is headlined by Harry Potter film series star Daniel Radcliffe.

Vatel director Roland Joff? teams with screenwriters Larry Cohen and Joselh Tura to adapt an original story by Cohen concerning a fashion model (Elisha Cuthbert) and her chauffer who are kidnapped and held captive by a sadistic serial killer. Jennifer Tree (Cuthbert) is America’s Sweetheart; a top fashion model and ubiquitous cover girl who is adored by millions, Jennifer possesses all of the wealth and power that comes with being a natural, world class beauty. Every girl wants to be Jennifer, and every man wants to have her - one more than all others combined. That man has been lying in wait for precisely the right moment to strike, and when Jennifer makes the fateful mistake of stepping out on her own at a Soho charity event he finally sees the opportunity to take possession of his most prized object. Drugged, taken, and placed in a cell where she is forced to endure unspeakable mental and physical torture, Jennifer struggles against her twisted tormentor with every ounce of courage and fight that she has - but will it be enough for her to endure should her captor continue to maintain the upper hand? A controversial film long before it ever went into wide release, Captivity caused quite a stir when graphic, unapproved ads for the film appeared on billboards and taxi cabs in New York and Los Angeles. Though representatives from Captivity’s releasing company After Dark Films claimed that the wrong materials were shipped to the printers and put up before they realized what had happened, public outcry was such that the MPAA saw fit to suspend the ratings process for the film. As a result, it quickly became apparent that Captivity would fail to procure an MPAA rating before its original target release date.

The bumbling cops of Comedy Central’s hit television series take a trip to Miami Beach for a national police convention. After the trip there turns out to be much more difficult than anticipated, the bumbling crew must leap into action when the convention center becomes the target of a biological terrorist attack. Lieutenant Jim Dangle (Thomas Lennon) must keep together his motley and inept crew in order to save everyone from the disaster, and keep peace on the streets of the popular Florida city. The film features the same cast from the popular Comedy Central series of the same name.

A handful of men find themselves forced to deal with acts of brutal violence in an increasingly lawless Britain in this hard-hitting drama from writer and director Nick Love. Sgt. Danny Bryant (Sean Bean) comes home injured from a tour of duty in Iraq to find things aren’t what they once were — a gang of thugs has moved into the neighborhood, and his wife is sleeping with another man. Angry Gene Dekker (Danny Dyer) is roughed up by toughs on the day he’s to be married, and rather than head out to the church, he sets out to get revenge on the men who beat him. Terence Manning (Rob Fry), a gangster who has been one of the leaders of London’s underworld, is currently on trial, with lawyer Cedric Munroe (Lennie James) heading the prosecution’s legal team. Manning’s men attack both Munroe and his wife, and persuade Munroe’s bodyguard Walter (Bob Hoskins) not to intervene. In time, the men set out to even the score against those who wronged them, though their contempt for the law puts them outside the lines of conventional justice. Outlaw also stars Sean Harris and Rupert Friend.

A professional collaboration between a popular lyricist and a washed-up musician takes a decidedly personal turn as the pair gradually finds their relationship developing into something much deeper in a romantic comedy directed by Marc Lawrence and starring Drew Barrymore and Hugh Grant. Alex Fletcher (Grant) may have been all the rage in the 1980s, but these days he’s lucky to get a gig playing at the local county fair. Just when it seems as if things couldn’t get any more bleak for the dejected has-been rocker, reigning pop diva Cora Corman (Haley Bennett) offers Alex the opportunity of a lifetime — write and record a duet to be sung with her and watch his career receive a much-needed boost as the nostalgia-crazed public laps it up. Little does Cora realize that not only has it been years since Alex has written a song, but he’s never actually written a single lyric. Now, if he hopes to make the comeback needed to save him from a life of complete and utter obscurity, Alex will have to craft a radio-friendly hit in a matter of mere days. Luckily for Alex, his quirky plant-keeper Sophie Fisher (Barrymore) has quite a way with words and may possess just the kind of songwriting talent needed to make such a hit happen. Unfortunately the beguiling Sophie is still reeling from a recent break-up with newly famous novelist Sloan Cates (Campbell Scott), and she isn’t quite sure if she’s ready for any kind of collaboration right now — romantic or otherwise. Despite Alex’s hesitation to commit and Sophie’s reluctance to collaborate, the pair quickly discovers that a little chemistry can go a long way in healing the wounds of the past and laying the foundation for a much-deserved future of happiness and success.

The Blair Witch Project co-director Daniel Myric returns to the helm to tell this tale of two paramedics kidnapped and held hostage by a mysterious cult. David Vaughn and Victor Hernandez were on the road when they received a call about a young girl whose mother has lost consciousness. Upon arriving at the remote area to administer treatment, however, both paramedics are kidnapped and confined in an isolated building. David is determined to discover the true motivation of the cult that now controls his destiny, while Victor suddenly finds his entire belief system crumbling as the fine line between religion and science is inexorably crossed. Now, come sunrise, something big is about to happen. Perhaps if David and Victor can escape the compound before dawn, their lives will be spared. But their chances for survival are growing slimmer with each passing hour, and as the first rays of sun shine over the horizon David and Victor’s desperation quickly turns to terrified determination.

Adapted from the bestselling novel, the whimsical, heartwarming comedy The Nanny Diaries concerns Annie Braddock (Scarlett Johansson), a recent college graduate from New Jersey whose nurse mother makes an unsuccessful bid to pressure her into a white-collared business career. Sidetracking this path for more colorful pursuits, Annie accepts a position as nanny and domestic servant for a wealthy couple on the upper east side of Manhattan, known only as “The Xs” (Paul Giamatti) and a heavily coiffed and accoutred Laura Linney). Annie has her first real taste of servant life when she arrives at the family’s residence and promptly sinks into Mrs. X’s luxury tub, but is soon shuttled off to her own bare-bones room. Face to face, for the first time in her life, with the vast socioeconomic differences between herself and others, Annie must spend her days catering to Mrs. X’s every whim, navigating the emotional landmines set by the domineering Mr. X, and tending to the demands of the couple’s mischievous and bratty son, Grayer (Nicholas Art). The situation grows a bit more awkward and sticky when Annie begins to fall for a young man who lives near the Xs, whom she’s nicknamed Harvard Hottie (Chris Evans), leading her to seriously reevaluate her career goals and priorities.

Now I respect the guy for making the effort, and yeah it was interesting to see how the film makers tried to get over the technical difficulties and the like, but honestly, I swear to god, this was the worst film I have ever ever seen. And I can’t even say why! It should have worked, everything was there, but it just seemed to miss the mark, consistently. Now, I would recommend this film for aspiring filmmakers as an example how to bypass certain budgeting restrictions, as in this respect, it did work, but as an actual movie? No thanks. It was like some parody of student films. There was some interesting camera work, but then, and especially in the dialogue scenes, there was the most awful,awful talking heads thing going on, the most static and boring shots I have ever seen in a motion picture. Now I imagine it was all shot on DV camera, and there have been some interesting things done in DV, and certainly, I think it should be considered the way of the future. I mean you only have to look at some of David Lynch’s work, and especially inland empire, to see just what can be done in the medium, but it is unredeemed dreck like this, which consistently mark DV, and DV film-makers as amateur, when it needn’t be! Please,please, to the film-maker: actors, real actors please. INTERESTING shots, especially in scenes of dialogue, something that lifts it a little, and most importantly of all, get a screenplay that says something new about the human condition. Budget restrictions needn’t be restrictions on the quality of the drama! of the uplifting experience that comes from learning something new about ourselves through drama.