Bovie Movie

The fourth film in the Alien series, directed by Jean-Pierre Jeunet (Delicatessen, The City of Lost Children) at a cost of 70 million dollars, takes place aboard an immense ship, the Auriga, where General Perez (Dan Hedaya) heads a staff of seven science officers and 42 enlisted, all employed by United Systems Military (replacing the Company of the earlier films). The time is 200 years after the events of Alien 3. Scientists researching the aliens need hosts, and they rely on space mercenaries who make spacecraft raids to acquire bodies. The research requires an Alien Queen specimen, so Ellen Ripley (Sigourney Weaver) has been cloned from preserved blood samples. The scientific team then removes the baby Alien Queen from Ripley’s chest. Since the Ripley clone has alien DNA mixed into her genetic structure, she is not totally human. Later, a commercial freighter, the Betty, arrives with a crew of mercenaries — Elgyn (Michael Wincott), pilot Hillard (Kim Flowers), paralyzed mechanic Vriess (Dominique Pinon), space jock Johner (Ron Perlman), and junior mechanic Annalee Call (Winona Ryder) — who deliver a load of human hosts with alien eggs. Problems begin when the mercenaries take over the Auriga, and aliens escape to massacre humans. As the aliens attack, Ripley and the mercenaries try to reach the Betty in order to escape. Cinematography by Darius Khondji features the same ENR process he used on Seven, adding silver to the printing process to heighten contrasts, making the dark colors richer. An electric-blue tint was employed during the underwater firefight between the mercenaries and the aliens. For the more physical aspects of her role, Ryder got in shape with six hours of daily workouts. Although all previous films in the series were shot at London’s Pinewood Studios, filming of Alien Resurrection took place West Los Angeles soundstages with special effects in California and Paris.

A gunslinging con man develops a tricky scheme to make a killing at a major poker tournament in this comic Western inspired by the popular television show. Mel Gibson assumes the role of Bret Maverick, the handsome rogue who hopes to cheat his way to success. In need of a large stake to enter a major card competition on a Louisiana steamboat, Maverick decides to take advantage of a few small-town poker players. These include the seemingly sweet Annabelle Bransford (Jodie Foster) and the intimidating Angel (Alfred Molina), neither of whom is too happy about their loss. Things become even more complicated for Maverick when the law gets involved, with Marshal Zane Cooper (James Garner, who played the role of Maverick in the original television series) giving chase. A series of stagecoach chases, complicated cons, and gun battles ensues, with Annabelle and Maverick finding time for plenty of flirtation along the way.

The cult-favorite television series which offered a fun-house version of ’70s “after-school specials” returns in this big-screen prequel to the show Strangers With Candy. Middle-aged ex-prostitute, former drug addict and all-around lowlife Jerri Blank (Amy Sedaris) emerges from prison at the age of 46 ready to start her life over again. Jerri arrives at her parents’ home to discover that her father Guy (Dan Hedaya) divorced Jerri’s mom and remarried before slipping into a coma. Jerri’s stepmom Sara (Deborah Rush) decides to let her stay with the family in the hope her presence might bring Guy around, though she doesn’t seem very fond of her new “daughter.” Jerri decides to complete the education she abandoned years ago by enrolling at Flatpoint High School, where Principal Blackman (Greg Hollimon) has bigger fish to fry than a middle-aged sex offender as a student. It seems Flatpoint’s science scores have been dreadful, and only a first-place entry in the county science fair will maintain the school’s accreditation. Science fair guru Roger Beekman (Matthew Broderick) is brought in with hopes of creating a winning project, but science teacher Mr. Noblet (Stephen Colbert) objects to using outside talent and starts a separate team of his own, bringing in Jerri to give her something to do. As it happens, Noblet’s team comes up with a potential prize-winner with their Soup Can Superconductor, while Beekman foolishly accepts the help of art teacher Mr. Jellineck (Paul Dinello) and ends up with a dance routine instead of a science presentation. Determined to win out over Noblet’s team, Beekman tries to get his hand on the plans for Noblet’s project by convincing handsome Brason (Chris Pratt) to charm them away from weak-willed Jerri. Strangers With Candy also features cameo appearances from Philip Seymour Hoffman, Allison Janney, Ian Holm, and Kristen Johnston.

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.

Richard Roundtree cuts a startlingly new and powerful heroic figure as John Shaft, “the cat who won’t cop out, when there’s danger all about” in Gordon Parks’ seminal action film, Shaft. John Shaft is a black private eye with a small office near Times Square. On his way there one day, he gets pumped for information by Lt. Victor Androzzi (Charles Cioffi), a friend of his on the police force, about something big going down in Harlem involving black crime kingpin Bumpy Jonas (Moses Gunn). Shaft can’t help him and leaves, only to just miss being waylaid by two of Bumpy’s strong-arm men at his office, one of whom ends up dead on the pavement eight floors or so below. Squeezed by the cops, who are holding a potential manslaughter arrest over his head, Shaft contacts Bumpy, who reveals that his teenage daughter, whom he’s always kept away from his business, has been kidnapped. There’s been no ransom demand and no clue as to who did it, and he wants Shaft to find the culprits, insisting that he start with a group of Harlem-based black militants led by Shaft’s onetime friend Ben Buford (Christopher St. John). No sooner does he find Buford, holed up in a decaying part of Harlem, however, than his friend’s comrades are mowed down by submachine gun fire, and Shaft and Buford barely escape. With Shaft angry and out for blood, everyone is forced to come clean — Bumpy knows that it’s the Mafia that kidnapped his daughter, as they want in on the Harlem drug trade that he controls; they’re holding her somewhere else outside of Harlem, where his men are no good to him, which is why he wanted Shaft to hook up with Buford. Androzzi tells Shaft that a dozen Mob trigger men from out of town have been spotted in Greenwich Village. He doesn’t know why they’re there, but he does know that if fighting breaks out between Bumpy’s men and the Mafia, it’s going to look like a race war, and the whole city could erupt. Shaft doesn’t like the way he’s been manipulated, but he sees Androzzi’s point — he links the trigger men to the kidnapping and finds the girl, but loses her again, getting shot in the process. Even though he’s wounded, Shaft heads for a final confrontation with the kidnappers, supported by Ben’s friends in an armed assault on the building where they’re holed up.

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.

A moment of temptation leads to a high body count and untold regrets for a high-school swimming star in this thriller starring Bring It On’s Jesse Bradford and Traffic’s Erika Christensen. Despite a shady past involving drugs and the juvenile justice system, Ben Cronin (Bradford) seems to have it all: a loving mother, a devoted girlfriend (Shiri Appleby), and a shot at a college scholarship in California. But the same week that athletic scouts will be deciding his future, Ben finds himself embroiled in a flirtation with Madison Bell (Christensen), a bewitching transfer student who seduces him into supposedly strings-free sex during an impromptu swim lesson after hours in the school pool. When Ben takes Madison at her word and goes about his business as if nothing had happened, she insinuates herself into his life with sinister glee. Showing up at Ben’s house, befriending his girlfriend, and sending him naked pictures — none of her strategies wins his heart. So Madison turns to other, more devious forms of courtship. Soon, Ben finds himself kicked off the swim team for supposed steroid use, suspected of murdering a rival (Clayne Crawford), and rejected by his girlfriend for his sexual indiscretions. Eventually, though, he receives help in uncovering the genesis of Madison’s uncanny fixation from an unexpected source. Originally titled “Swimfan85″ (after Madison’s Internet screen name), the retitled Swimfan hit the top spot at the back-to-school box office when it was released September 6, 2002. Dan Hedaya co-stars as Ben’s stern but loving mentor, Coach Simkins. Actor-turned-director John Polson previously helmed Siam Sunset.

David Lynch wrote and directed this look at two women who find themselves walking a fine line between truth and deception in the beautiful but dangerous netherworld of Hollywood. A beautiful woman (Laura Elena Harring) riding in a limousine along Los Angeles’ Mulholland Drive is targeted by a would-be shooter, but before he can pull the trigger, she is injured when her limo is hit by another car. The woman stumbles from the wreck with a head wound, and in time makes her way into an apartment with no idea of where or who she is. As it turns out, the apartment is home to an elderly woman who is out of town, and is allowing her niece Betty (Naomi Watts) to stay there; Betty is a small-town girl from Canada who wants to be an actress, and her aunt was able to arrange an audition with a film director for her. Betty befriends the injured woman, who begins calling herself “Rita” after seeing a poster of Rita Hayworth. While Betty’s audition impresses a casting agent, and she catches the eye of hotshot director Adam Kesher (Justin Theroux), Kesher’s producers and moneymen insist with no small vehemence that he instead cast a woman named Camilla Rhodes. As Rita attempts to put the pieces of her life back together, she pulls the name Diane Selwyn from her memory; Rita thinks it could be her real name, but when she and Betty find a listing for Diane Selwyn and visit her apartment, they discover the latest victim of a mysterious killer who is eluding police detective Harry McKnight (Robert Forster). Rita’s emotional identity soon takes a left turn, and it turns out that neither woman is quite who she once appeared to be. David Lynch originally conceived Mulholland Drive as the pilot film for a television series; after the ABC television network rejected the pilot and declined to air it, the French production film StudioCanal took over the project, and Lynch reshot and re-edited the material into a theatrical feature. The resulting version of Mulholland Drive premiered at the 2001 Cannes Film Festival, where David Lynch shared Best Director honors with Joel Coen.