Bovie Movie

Investigative TV journalist Max Brackett (Dustin Hoffman) suffers setbacks and winds up filing routine reports from Madeline, California. Max and his eager intern Laurie (Mia Kirshner) are doing a story at the local Museum of Natural History when a bigger story erupts. The Museum’s director, Mrs. Banks (Blythe Danner), refuses to talk to former museum security guard Sam Baily (John Travolta) about his firing due to budget cuts. Angered, Sam shoots a shotgun, accidentally hitting another security guard. Realizing he’s in the middle of breaking news, Max phones his supervisor (Robert Prosky) and goes to live coverage. A class of young children is visiting the Museum, and Sam holds them hostage. Sam’s link to the outside world is the opportunistic Max, who manipulates the situation, telling Sam what to say on camera. Within hours, as the event escalates to national interest, vendors arrive to hawk products at the museum grounds, while the entire country tunes in the ongoing coverage. The screenplay by Eric Williams and Tom Matthews (former managing editor of Boxoffice) is a technological updating of the 1951 Billy Wilder classic Ace in the Hole (aka The Big Carnival) about a scheming journalist (Kirk Douglas) who delays the rescue of a man trapped by a rockfall in order to continue his newspaper reports. Acknowledging the Wilder film, the name “Brackett” is an obvious nod to Charles Brackett, Wilder’s long-time collaborator. Filmed in Los Angeles and San Jose, where the San Jose Athletic Club served as the museum location site. Shown at the 1997 Denver Film Festival.

This 60-million-dollar science fiction suspense drama (marketed with an additional 25 million dollars), was adapted from the popular TV series The X-Files — arriving in theaters while the Emmy-winning series was still being aired, continuing plot threads familiar to many of the series’ 25 million viewers, and featuring several familiar recurring characters introduced during the previous five TV seasons. In 15,000 B.C., a strange creature attacks a caveman. Cut to present day, when a boy at the same North Texas spot falls into a pit and is contaminated by a black substance. When a bomb threatens the Dallas Federal Building, special FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) locate the device but are unable to prevent the explosion. The agency blames Mulder and Scully for the disaster, subjecting them to lengthy interrogations while trying to sever their partnership. In a bar, conspiracy theorist Kurtzweil (Martin Landau), a friend of Mulder’s father, tells Mulder about the group behind the explosion, the cover-up of the boy’s death, the bodies of four infected rescue workers removed from the Federal Building, the secret government, and the forthcoming plague. Mulder and Scully set out to find answers, and their investigation becomes a foray into the fantastic.

In this comedy from Austin Powers director Jay Roach, Ben Stiller plays a young man who endures a disastrous weekend at the home of his girlfriend’s parents. Greg Focker (Stiller) is completely in love with Pam Byrnes (Teri Polo), and views their upcoming trip to her parents’ house on Long Island (where her sister is to be married during the weekend) as a perfect opportunity to ask her to marry him. Once Greg is introduced to Pam’s parents, however, things stampede steadily downhill. Pam’s father, Jack (Robert De Niro), takes an instant and obvious dislike to his daughter’s boyfriend, lambasting him for his job as a nurse and generally making Greg painfully aware of the differences between him and Pam’s family. Where Greg is grubby, relatively unambitious, and Jewish, Pam comes from a long line of well-mannered, blue-blooded WASPs. Things go from bad to worse in less time than it takes to spin a dreidel, with Greg incurring the wrath of both Pam’s father — who, it turns out, worked for the CIA for 34 years — and the rest of her family, and almost single-handedly destroying their house and the wedding in the process.

After suffering the humiliation of being given the third degree by his girlfriend’s father, one man now faces the even more embarrassing task of introducing his own mother and father in this star-studded sequel to the box-office smash Meet the Parents. After getting off on the wrong foot (to put it mildly) with his prospective in-laws, Greg Focker (Ben Stiller) has finally won the grudging approval of Jack and Dina Byrnes (Robert De Niro and Blythe Danner) to marry their daughter Pam (Teri Polo). But after clearing the first hurdle, now Greg has to face an even bigger challenge — introducing the straight-laced Byrnes family to his folks, free-spirited sex therapist Roz (Barbra Streisand) and eccentrically open-minded Bernie, who blend with Pam’s parents not quite as well as oil and water. Meet the Fockers was directed by Jay Roach, who handled the same chores for Meet the Parents.

The life of poet and novelist Sylvia Plath — one of the most celebrated literary figures of her generation — is brought to the screen in this controversial screen adaptation. Born in Boston, MA, in 1932, Plath (played by Gwyneth Paltrow) developed a precocious talent as a writer and published her first poem when she was only eight years old. That same year, tragedy introduced itself into her life as Plath was forced to confront the unexpected death of her father. In 1950, she began studying at Smith College on a literary scholarship, and while she was an outstanding student, she also began suffering from bouts of extreme depression; following her junior year, she attempted suicide for the first time. Plath survived, and, in 1955, she was granted a Fulbright Scholarship to study in England at Cambridge. While in Great Britain, Plath met Ted Hughes (Daniel Craig), a respected author who would later become the British Poet Laureate; the two fell in love, and married in 1958. However, marriage, family, and a growing reputation as an important poet failed to bring Plath happiness, and as she became increasingly fascinated with death in her later poetry and her sole novel, The Bell Jar, and after Hughes left her for another woman, her depression went into a tailspin from which she would never fully recover. Sylvia was adapted in part from Birthday Letters, a collection of poems Ted Hughes published in 1998, in which he dealt with his marriage to Plath in print for the first time.