Bovie Movie

Near the end of The Usual Suspects, Kevin Spacey, in his Oscar-winning performance as crippled con man Roger “Verbal” Kint, says, “The greatest trick the Devil ever pulled was convincing the world he didn’t exist.” This may be the key line in this story; the farther along the movie goes, the more one realizes that not everything is quite what it seems, and what began as a conventional whodunit turns into something quite different. A massive explosion rips through a ship in a San Pedro, CA, harbor, leaving 27 men dead, the lone survivor horribly burned, and 91 million dollars’ worth of cocaine, believed to be on board, mysteriously missing. Police detective Dave Kujan (Chazz Palminteri) soon brings in the only witness and key suspect, “Verbal” Kint. Kint’s nickname stems from his inability to keep his mouth shut, and he recounts the events that led to the disaster. Five days earlier, a truckload of gun parts was hijacked in Queens, NY, and five men were brought in as suspects: Kint, hot-headed hipster thief McManus (Stephen Baldwin), ill-tempered thug Hockney (Kevin Pollak), flashy wise guy Fenster (Benicio Del Toro), and Keaton (Gabriel Byrne), a cop gone bad now trying to go straight in the restaurant business. While in stir, someone suggests that they should pull a job together, and Kint hatches a plan for a simple and lucrative jewel heist. Despite Keaton’s misgivings, the five men pull off the robbery without a hitch and fly to Los Angeles to fence the loot. Their customer asks if they’d be interested in pulling a quick job while out West; the men agree, but the robbery goes horribly wrong and they soon find themselves visited by Kobayashi (Pete Postlethwaite), who represents a criminal mastermind named Keyser Soze. Soze’s violent reputation is so infamous that he’s said to have responded to a threat to murder his family by killing them himself, just to prove that he feared no one. When Kobayashi passes along a heist proposed by Soze that sounds like suicide, the men feel that they have little choice but to agree.

In this international action thriller, Paul Racine (Christopher Lambert) is an American salesman with a computer firm who is in Japan on business. While spending an evening in a bar, he meets Kirina (Joan Chen), a beautiful but mysterious woman. Paul buys Kirina a drink, one thing leads to another, and he ends up spending the night with her. However, when Paul returns to her room to retrieve a set of keys he left behind, he discovers that Kirina is being murdered by Kinjo (John Lone), the master of a cult of bloodthirsty ninjas. Kinjo informs Karina that no one has ever seen his face and lived, so when Paul witnesses Kirina’s execution and the face Kinjo hides behind his mask, he’s a marked man. With the help of Takeda (Yoshio Harada), an experienced ninja fighter, Paul learns how to defend himself against his new adversaries as he plots a final showdown with the deadly Kinjo. The Hunted represented something of a reunion for John Lone and Joan Chen, who previously starred together in The Last Emperor.

Guy Ritchie’s sophomore follow-up to his 1998 sleeper hit Lock, Stock, and Two Smoking Barrels, Snatch revisits the previous film’s territory of London’s crime-ridden underbelly, and does so with the same brand of humor and stylish direction that made Ritchie’s first effort a surprise success. With a labyrinthine plot that is ostensibly oriented around a missing diamond, Snatch introduces viewers to three groups of characters intent on retrieving the elusive stone, which has been stolen from an Antwerp jeweler. In the first group are friends and business partners Turkish (Jason Statham, who also supplies the film’s voice-over narration) and Tommy (Stephen Graham), who join up with Mickey (Brad Pitt), an Irish gypsy and boxer. Turkish and Tommy make arrangements with Mickey to take a fall in a match engineered by lunatic gang leader Brick Top (Alan Ford). In another corner resides equally loony Russian gangster Boris the Blade (Rade Sherbedgia), who has asked Jewish gangster Franky Four Fingers (Benicio Del Toro) to place a bet on the match for him. Boris is also scheming to have Sol (Lennie James), the owner of a pawn shop, rob the place with a couple of dim associates. Meanwhile, Avi (Dennis Farina), freshly arrived in London from New York, hires Bullet Tooth Tony (Vinnie Jones) to find Franky when he goes missing; it seems that it was none other than Franky who was supposed to be transporting the purloined diamond to New York.

Robert De Niro is Gil Renard, baseball fan from hell. Bobby Rayburn (Wesley Snipes) is the player he is nuts about. No sooner does the talented Rayburn sign a huge contract with the San Francisco Giants, than everything in his life goes horribly wrong. Not only does his field play deteriorate along with his batting average, but someone murders his chief team rival. It’s not revealing too much to say that Gil killed him, in the mistaken belief that he was doing Bobby a favor. When superfan Gil insinuates himself into Bobby’s everyday life, the situation grows much worse, because this fixated nut-case has some very strange ideas about family solidarity. Amusing highlights come from John Leguizamo as a ballplayer’s agent, and Ellen Barkin as a radio sports announcer.

Timothy Dalton is better in Licence to Kill than in his first James Bond endeavor (The Living Daylights), but he still seems uncomfortable on the right side of the law. This time around, Bond is working on his own rather than on behalf of the British Secret Service. His American friend Felix Leiter (David Hedison), an agent of the Drug Enforcement Administration, has been seriously injured by drug dealer Robert Davi, and 007 is out for blood. There is precious little time for the usual Bondian quippery and directorial campiness, resulting in a marked increase in bloodletting (including the “implosion” of secondary villain Anthony Zerbe). A climactic highway chase involving an oil tanker and a helicopter is stretched slightly beyond its value, but is still one of the best action setpieces in any Bond film. Licence to Kill was a refreshingly serious change of pace for the series, albeit one that tended to lessen Bond’s box-office value.

Terry Gilliam (Brazil, Twelve Monkeys, The Fisher King) directed this colorful, stylized, pseudo-psychedelic $21-million adaptation of the 1971 Hunter S. Thompson classic, Fear and Loathing in Las Vegas: A Savage Journey into the Heart of the American Dream, about stoned sportswriter Raoul Duke, Thompson’s alter ego, on a wild drug-crazed road trip, a paranoid plummet into the belly of the beast, with his pal, lawyer Oscar Zeta Acosta. Originally serialized in Rolling Stone (November 1971), the book catapulted Thompson headfirst toward the Kerouac-Mailer-Capote pantheon and jump-started the entire movement of “gonzo journalism.” Carrying a suitcase of drugs, Raoul Duke (Johnny Depp with shaved pate) and his attorney Dr. Gonzo (Benicio Del Toro) drive a red convertible across the Mojave from L.A. to Vegas, where Duke has an assignment to cover the Mint 400 desert motorcycle race. As the drugs kick in, Duke ventures into voiceover, filling in the blank spots and narrative gaps. “This is not a good town for psychedelic drugs,” says Duke, but even so, they consume vast quantities, eventually escalating to ether. Duke notes that with ether “you can actually watch yourself behaving this terrible way, but you can’t control it.” The two trash their hotel room, and Gonzo goes back to L.A. Thinking the hotel room holocaust will lead to an arrest, Duke begins a drive back to L.A., but after an odd encounter with a highway patrolman (Gary Busey) and a telephone conversation with Gonzo, he returns to Vegas to cover the District Attorney Convention on Narcotics and Dangerous Drugs in the glitzy Flamingo Hotel. This time the drugged-out duo trash their Flamingo room. The crazed carnival atmosphere segues into a carney casino, Bazooko’s Circus, where a barker (Penn Jillette) spiels amid aerialists, clowns, and a rotating carousel bar. Gonzo worries over runaway teen Lucy (Christina Ricci), who paints portraits of Barbra Streisand. Soon the hallucinations begin: Duke sees Gonzo transmogrify into a demon with breasts on its back, and an acid vision of a Vegas bar features large legit lounge lizards (courtesy of monster makeup man Rob Bottin). Flashbacks depicting Duke’s intro to the drug scene jump back to love-Haight relationships in San Francisco’s Summer of Love. Cameos and guest stars include Mark Harmon, Cameron Diaz, Flea, Lyle Lovett, Harry Dean Stanton, Ellen Barkin, Tobey Maguire, and Hunter S. Thompson himself. The film features a Geffen Records soundtrack mixing rock of the period with Vegas lounge tunes. Over the years, various script adaptations came and went as did numerous talents; people connected with past efforts to film Thompson’s book include Martin Scorsese, Jack Nicholson, Dan Aykroyd, John Belushi, and writer-director Alex Cox. Shown in competition at the 1998 Cannes Film Festival.

The Eisner Award-winning comic series Sin City comes to life in this live-action feature adaptation from director Robert Rodriguez and creator Frank Miller. Interweaving multiple storylines from the series’ history, this violent crime noir paints the picture of the ultimate town without pity through the eyes of its roughest characters. There’s the street thug Marv (Mickey Rourke), whose desperate quest to find the killer of a prostitute named Goldie (Jaime King) will lead him to the foulest edges of town. Inhabiting many of those areas is Dwight (Clive Owen), a photographer in league with the sordid ladies of Sin City, headed by Gail (Rosario Dawson), who opens up a mess of trouble after tangling with a corrupt cop by the name of Jackie Boy (Benicio Del Toro). Finally, there’s Hartigan (Bruce Willis), an ex-cop with a heart problem who’s hell-bent on protecting a stripper named Nancy (Jessica Alba). Featuring a who’s who supporting cast that includes Elijah Wood, Brittany Murphy, Devon Aoki, and Nick Stahl, Sin City promises to be one of the most direct translations from page to screen of a comic series, with shots and dialogue adapted straight from the original comic’s panels. Rodriguez quit the Director’s Guild when they refused to let Frank Miller co-direct the film, a deal hashed out after the two collaborators developed and shot the opening scene utilizing a green-screen process to harness the stark, black-and-white look of the books as a litmus test for the rest of the production. Quentin Tarantino was brought in and reportedly paid one dollar to direct an extended scene between Del Toro and Owen that amounts to one issue of The Big Fat Kill miniseries.