Bovie Movie

The child who could start fires with her mind is all grown up and still trying to find out the truth about what happened to her in this made-for-TV sequel to the sci-fi fantasy Firestarter. Nearly 20 years ago, Charlene “Charlie” McGee (Marguerite Moreau) was trained by a mysterious government organization who wanted to exploit her special and very dangerous gift, though Charlie learned the government operatives were not to be trusted when they murdered her parents. Charlie ran away from them as a child, but now in her mid-twenties, she’s decided she wants to know more about the people who shaped her strange destiny — just as Rainbird (Malcolm McDowell), the man who shaped Charlie’s pyrotechnic gift years before, finally finds her after years of search. To Charlie’s horror, she discovers a number of other children with bizarre talents. Charlie is soon on the run from Rainbird again, and her only allies in flight are a former associate of Rainbird turned enemy of the state (Danny Nucci) and fellow test subject (Dennis Hopper). Firestarter: Rekindled originally aired as a two-part miniseries on the Sci-Fi network on March 10 and 11, 2002.

After awakening in a locked and deserted mansion, nine complete strangers are forced into a deadly game of survival in director Steven R. Monroe’s tense tale of dread and deception. Upon learning that the last person standing will be permitted to leave the residence with $5 million, the paranoid prisoners struggle for survival as the evening’s events quickly turn deadly and the body count steadily begins to rise. Dennis Hopper, Kelly Brook, and Peter Capaldi star.

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

John Dahl directed and co-wrote (along with his brother Rick Dahl) this quirky and energetic film noir that, after a well-received screening at the Toronto Film Festival, was consigned to oblivion before resurfacing on cable television. When the owner of a San Francisco movie theater, who was a big fan of the film, arranged for a theatrical release, the film clicked and toured the country as an art house hit. The film concerns eternal loser Michael (Nicolas Cage), down to his last five dollars and looking for work. He finds himself at a bar in the town of Red Rock. The bartender, Wayne (J.T. Walsh) eyes him suspiciously and asks him, “You must be Lyle, from Dallas.” Michael, eager to earn some cash, agrees. It seems Wayne has a job for Michael, but what Michael doesn’t realize until too late is that the job is to kill Wayne’s wife for $10,000. Michael heads out to Wayne’s farm with the cash to warn Wayne’s wife, Suzanne (Lara Flynn Boyle). Suzanne responds by offering to double Michael’s fee if he will kill her husband instead. Michael takes the money and tries to leave town, but when a thunderstorm comes up, he runs over a man who was trying to flag him down. The sheriff arrives on the scene to attend to matters — who turns out to be Wayne. Wayne proceeds to drive Michael out of town for an execution, but Michael manages to elude him. Flagging down a driver on the road who is driving back into Red Rock, they return to the bar, where the driver offers to buy Michael a drink. As Michael accepts the offer of a drink, he realizes that he is drinking with the real “Lyle from Dallas” (Dennis Hopper) who is awaiting Wayne’s return.

The turning point in the life of Ed Pekurny (Matthew McConaughey) comes thanks to the misfortunes of the NorthWest Broadcasting Company. After two years on the air, their flagship cable channel, True TV, has slid into obscurity due to competition from the The Gardening Channel. Program director Cynthia Topping (Ellen DeGeneres) brainstorms a last ditch effort to save the channel: broadcast one ordinary person’s life 24 hours a day, unedited (while he sleeps, the day’s highlights will be shown). When the network agrees to the idea, Topping must find the subject of her program. After endless auditions, she lucks upon Ed, a goofy but good-looking video store clerk. Ed has little time to get used to his new shadow, a three man video crew, before the show becomes a hit. Suddenly Ed’s a cultural icon with fan clubs, stalkers, and imitators, but the media saturation has it’s effects on his friends and family, who are now part of the program. Ed alienates his proud brother, Ray (Woody Harrelson), by falling in love with his girlfriend, Shari (Jenna Elfman). His estranged father Hank (Dennis Hopper) reappears after abandoning the family and creates tension between Ed and Ray’s mother, Jeanette (Sally Kirkland) and her wheelchair-bound second husband, Al (Martin Landau). When Ed realizes the phenomenon has turned on him, he convinces Topping to stop the ordeal, but not her boss, Whitaker (Rob Reiner). To regain his life, Ed must find a way to cancel EDtv.

George A. Romero, who revolutionized the American horror film in 1968 with the instant classic Night of the Living Dead, returns to his dystopian zombie cycle with this horror thriller. In Land of the Dead, the zombies whose numbers had been slowly but steadily growing through Dawn of the Dead and Day of the Dead now dominate the streets of most American cities, while urban skyscrapers have been taken over by surviving humans, usually greed-addled opportunists who allow the living to stay in their fortified compounds for a price. Guarding the buildings are rough-and-tumble mercenaries who have learned to do battle with the zombies, making use of powerful weapons to gain advantage. But as the zombie civilization grows, the creatures have begun to slowly evolve, with their dormant thought processes beginning to awaken, and as unrest begins to ferment among the mercenaries and the entrepreneurs who pay them, the ghouls may have found a way to defeat the last stronghold of humanity. Land of the Dead stars Dennis Hopper as arch capitalist Kaufman, and Simon Baker, John Leguizamo, Robert Joy, and Asia Argento as some of the mercenaries; Asia Argento’s father, Dario Argento, served as a producer on one of the earlier films in the series, Dawn of the Dead.

Director David Lynch crafted this hallucinogenic mystery-thriller that probes beneath the cheerful surface of suburban America to discover sadomasochistic violence, corruption, drug abuse, crime and perversion. Kyle Maclachlan stars as Jeffrey Beaumont, a square-jawed young man who returns to his picture-perfect small town when his father suffers a stroke. Walking through a field near his home, Jeff discovers a severed human ear, which he immediately brings to the police. Their disinterest sparks Jeff’s curiosity, and he is soon drawn into a dangerous drama that’s being played out by a lounge singer, Dorothy Vallens (Isabella Rossellini) and the ether-addicted Frank Booth (Dennis Hopper). The sociopathic Booth has kidnapped Dorothy’s young son and is using the child as a bargaining chip to repeatedly beat, humiliate and rape Dorothy. Though he’s drawn to the virginal, wholesome Sandy Williams (Laura Dern), Jeff is also aroused by Dorothy and in trying to aid her, he discovers his dark side. As the film nears its conclusion, our hero learns that many more indivduals are tacitly involved with Frank, including a suave, lip-synching singer, Ben (Dean Stockwell), who is minding the kidnapped boy. Director Lynch explored many similar themes of the “disease” lying just under the surface of the small town, all-American fa?ade in his later television series Twin Peaks (1990-91).