Bovie Movie

In Robert Zemeckis’s trailblazing combination of animation and live-action, Hollywood’s 1940s cartoon stars are a subjugated minority, living in the ghettolike “Toontown” where their movements are sharply monitored by the human power establishment. The Toons are permitted to perform in a Cotton Club-style nightspot but are forbidden to patronize the joint. One of Toontown’s leading citizens, whacked-out Roger Rabbit, is framed for the murder of human nightclub owner Marvin Acme (Stubby Kaye). Private detective Eddie Valiant (Bob Hoskins), whose prejudice against Toons stems from the time that his brother was killed by a falling cartoon piano, reluctantly agrees to clear Roger of the accusation. Most of the sociopolitical undertones of the original novel were weeded out out of the 1988 film version, with emphasis shifted to its basic “evil land developer” plotline –and, more enjoyably, to a stream of eye-popping special effects. With the combined facilities of animator Richard Williams, Disney, Warner Bros., Steven Spielberg’s Amblin Entertainment, and George Lucas’s Industrial Light and Magic, the film allows us to believe (at least for 90 minutes) that “toons” exist, and that they are capable of interacting with 3-dimensional human beings. Virtually every major cartoon character of the late 1940s shows up, with the exceptions of Felix the Cat and Popeye the Sailor, whose licensees couldn’t come to terms with the producers. Of the film’s newly minted Toons, the most memorable is Roger Rabbit’s curvaceous bride Jessica (voiced, uncredited, by Kathleen Turner). The human element is well-represented by Hoskins, Christopher Lloyd, and Joanna Cassidy; also watch for action-film producer Joel Silver as Roger Rabbit’s Tex Avery-style director.

The final installment in the Back to the Future trilogy picks up where the second film left off, but it casts off the dizzying time travel of the first two films for mostly routine comedy set in the Old West. Marty McFly (Michael J. Fox) receives a 70-year-old letter from his inventor friend, Doc Brown (Christopher Lloyd), who tells Marty that he has retreated a century in time to live out a relatively quiet life in the Old West. Doc Brown reveals that he hid his DeLorean car/time machine in an abandoned mine outside town, and when Marty does some research and discovers that the Doc died shortly after writing the letter, he decides to find the car, travel back in time, and warn the Doc about his demise. Meanwhile, the Doc, who has fallen in love with a local woman (Mary Steenburgen), realizes he can’t hide in the past from the problems he has caused to the time flow in the previous two adventures. He reluctantly decides to return to the present with Marty, but first, they have to find a way to get the DeLorean up to time-travel velocity with a broken fuel line and no gasoline.

At the beginning of Interstate 60, Neal Oliver (James Mardsen) has more questions about his future than answers. Though he would rather pursue a career in art, Neal debates whether or not he should set his goals towards a law degree, as his father would greatly prefer. He has a girlfriend, but he wonders if he should search for the mysterious woman (Amy Smart) who visits his nightly dreams and inspires his artwork. By the time his 23rd birthday roles around, Neal is no closer to choosing his life’s path. He feels empty and unsatisfied, despite lavish birthday gifts, and wishes only for clarity as he blows out the candles on his cake. Rather than instant answers, Neal is given the opportunity to take a journey on a highway that doesn’t exist on any map; a highway where the past, present, and future converge. Alongside him is One Wish Grant (Gary Oldman), the immortal offspring of a leprechaun and Cheyenne Indian, who has the unique ability to grant wishes to those he believes deserve them. Thus begins Neal’s surreal road trip through the uncharted territories of his own potential destiny. Interstate 60 features a stellar cast with supporting performances and cameos from Kurt Russell, Michael J. Fox, Liv Tyler, and Christopher Lloyd. Bob Gale, co-writer/producer of Used Cars, I Wanna Hold Your Hand, and, most notably, the Back to the Future trilogy, directs.

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.

Contemporary high schooler Marty McFly (Michael J. Fox) doesn’t have the most pleasant of lives. Browbeaten by his principal at school, Marty must also endure the acrimonious relationship between his nerdy father (Crispin Glover) and his lovely mother (Lea Thompson), who in turn suffer the bullying of middle-aged jerk Biff (Thomas F. Wilson), Marty’s dad’s supervisor. The one balm in Marty’s life is his friendship with eccentric scientist Doc (Christopher Lloyd), who at present is working on a time machine. Accidentally zapped back into the 1950s, Marty inadvertently interferes with the budding romance of his now-teenaged parents. Our hero must now reunite his parents-to-be, lest he cease to exist in the 1980s. It won’t be easy, especially with the loutish Biff, now also a teenager, complicating matters. Beyond its dazzling special effects, the best element of Back to the Future is the performance of Michael J. Fox, who finds himself in the quagmire of surviving the white-bread 1950s with a hip 1980s mindset. Back to the Future cemented the box-office bankability of both Fox and the film’s director, Robert Zemeckis, who went on to helm two equally exhilarating sequels.