Bovie Movie

The Creeper is back, and he’s brought his appetite with him in director Victor Salva’s sequel to his popular 2001 sleeper. Stranded on the dreaded East 9 Highway while returning home from winning the championship game, a group of basketball players, cheerleaders, and coaches quickly realize that there’s more to fear than a broken down bus when The Creeper descends mercilessly upon them. As his 23-day feeding frenzy draws to a close, The Creeper needs the sort of nourishment only a vital group of young athletes can provide, and to survive the night, the terrified teens will have to fight to their dying breaths.

A handful of desperate characters come together unexpectedly one winter evening in this comedy-drama. Lefty (Stephen Baldwin) is a luckless sad sack whose life has been in a tailspin since his wife Heather (Faline England) left him two years ago. Lefty has been struggling to win back the right to visit his daughter, but since losing his job and periodically stumbling in his efforts to give up drinking, he’s been so broke he can’t afford to pay his rent, let alone hire a lawyer, and after a meeting with Heather’s attorney goes badly, he decides he needs to get his hands on a gun. Meanwhile, Lefty’s aging mother Eva (K Callan) has fallen into a depression as her health has begun to fail her, and she’s decided that Christmas Eve would be as good a time as any to do herself in. Elsewhere, Mary (Mary Thornton) could use some help looking after her son Jacob (Dominic Scott Kay), after her husband Rick (Kevin Downes) suffered a severe head injury during a motorcycle accident a year before with his best friend and riding buddy, Mitch (Mitchell Jarvis). And Mark (Richard Fancy), the pastor at a local church, has been persuaded to take a group of kids out Christmas caroling — a task he does not relish. Somehow, the fates conspire to bring the principles together with Christmas just around the corner to give them the hope that’s been lacking in their lives. Midnight Clear was the first feature film from director Dallas Jenkins, adapted from a short film of the same title he made the previous year.

In a change-of-pace role designed to prove that she could carry high-concept genre films as well as character-driven dramas, Meryl Streep headlined this fast-paced adventure as Gail, a whitewater rafting guide. For a vacation, Gail is accompanying her son Roarke (Joseph Mazzello) and workaholic husband Tom (David Strathairn) on a river trip. Gail and Tom are experiencing marital troubles and contemplating divorce, but their problems take a back seat when they encounter some menacing rafters led by Wade (Kevin Bacon). After Tom saves Wade from drowning, they discover that the men are murderous fugitives using the river as an escape route. Kidnapped by the killers, Gail’s forced to leave her husband stranded on shore and guide the villains through the “Gauntlet,” a raging confluence of rivers that few rafters ever survive. Meanwhile, Tom proves to be wilier than anyone suspected, following the raft on foot and plotting his family’s rescue. Following a quartet of popular B-grade thrillers, director Curtis Hanson attempted to break partially out of the genre with The River Wild, which, despite the presence of a psycho killer, played as more a stunt-filled action movie than a murder mystery.

A righteous police officer investigating the disappearance of a young girl comes into conflict with the unusual residents of a secluded Scottish isle in this unsettling, intelligent chiller. Brought to the island of Summerisle by an anonymous letter, Edward Woodward’s constable is surprised to discover that the island’s population suspiciously denies the missing girl’s very existence. Even more shocking, at least to the traditionally pious law office, the island is ruled by a libertarian society organized around pagan rituals. Repelled by the open acceptance of sexuality, nature worship, and even witchcraft, the officer takes an antagonistic attitude towards the people and their leader, an eccentric but charming English lord (Christopher Lee). The officer’s unease intensifies as he continues his investigation, slowly coming to fear that the girl’s disappearance may be linked in a particularly horrifying manner to an upcoming public festival. Anthony Shaffer’s meticulously crafted screenplay creates a thoroughly convincing alternative society, building tension through slow discovery and indirect suggestion and making the terrifying climax all the more effective. Performances are also perfectly tuned, with Woodward suitably priggish as the investigator and horror icon Lee delivering one of his most accomplished performances as Lord Summerisle. Little noticed during its original theatrical run due to studio edits and a limited release, the film’s intelligence and uncanny tone has since attracted a devoted cult following.