Bovie Movie

One man’s life is thrown into turmoil by picking up a telephone in this claustrophobic thriller. Stu Shepard (Colin Farrell) is a brash, cynical, and self-centered public relations man who juggles a busy career with both a wife, Kelly (Radha Mitchell), and a mistress, Pamela (Katie Holmes). Stu steps into a phone booth on a busy New York street to make a call to Pamela without Kelly being the wiser, but as soon as Stu hangs up, the phone begins to ring. Curious, Stu picks it up — and a stranger on the other end (voice of Kiefer Sutherland) informs him that if he hangs up the phone, he’ll be shot. The red dot of an infrared rifle scope convinces Stu that the caller means business, and when another man tries to make his way into the booth, he’s shot mere inches from Stu, calling the attention of the police. Captain Ramey (Forest Whitaker) naturally assumes that Stu was the killer, as Stu struggles to find a way to convince the police of what’s happening before more lives are lost, without leaving the booth and putting his own life on the line. At one time proposed as a vehicle for Jim Carrey, Phone Booth was directed by Joel Schumacher, from a screenplay by exploitation icon Larry Cohen.

Oliver Stone’s breakthrough as a director, Platoon is a brutally realistic look at a young soldier’s tour of duty in Vietnam. Chris Taylor (Charlie Sheen) is a college student who quits school to volunteer for the Army in the late ’60s. He’s shipped off to Vietnam, where he serves with a culturally diverse group of fellow soldiers under two men who lead the platoon: Sgt. Barnes (Tom Berenger), whose facial scars are a mirror of the violence and corruption of his soul, and Sgt. Elias (Willem Dafoe), who maintains a Zen-like calm in the jungle and fights with both personal and moral courage even though he no longer believes in the war. After a few weeks “in country,” Taylor begins to see the na?vet? of his views of the war, especially after a quick search for enemy troops devolves into a round of murder and rape. Unlike Hollywood’s first wave of Vietnam movies (including The Deer Hunter, Apocalypse Now, and Coming Home), Platoon is a grunts-eye view of the war, touching on moral issues but focusing on the men who fought the battles and suffered the wounds. In this sense, it resembles older war movies more than its Vietnam peers, as it mixes familiar elements of onscreen battle with small realistic details: bugs, jungle rot, exhaustion, C-rations, marijuana, and counting the days before you go home. This mix of traditional war movie elements with a contemporary sensibility won Platoon four Oscars including Best Picture and Best Director, and a reputation as one of the definitive modern war films.

This big-budget science fiction adventure centers on a final battle between good and evil for control of the world. In the year 3000, Earth is ruled by the Psyclos, a vicious alien race of which Terl (John Travolta) is a member, that has laid waste to the planet, killed the majority of the population, and stripped Earth of its valuable resources. Pockets of resistance remain among the surviving humans; Jonnie “Goodboy” Tyler (Barry Pepper) is one such rebel, living in hiding in the mountains near Boulder, CO. Eventually, Johnny begins organizing like-minded humans for a final stand against the Psyclos. The film is based on the novel by L. Ron Hubbard, the science fiction author also known as the founder of the Church of Scientology; it covers only the first half of the book, saving the remainder for a possible sequel. Battlefield Earth also stars Forest Whitaker, Kim Coates, and Kelly Preston.

Opening within one month from each other in 1994, Blown Away invited many comparisons to Speed. Both are pyrotechnical displays involving mad bombers and a multitude of flying building debris and body parts. The cop and the mad bomber in this one are Jimmy Dove (Jeff Bridges), a veteran of the Boston Bomb Squad planning to retire from the force, and Ryan Gaerity (Tommy Lee Jones), a revenge-crazed explosives expert who has recently escaped from a detention center in Northern Ireland. It seems that Gaerity is out to get Jimmy and has been nursing his grudge for the past twenty years. Back in his Irish past, Jimmy, then known as Liam, was a student of Gaerity, who constructed bombing devices for the IRA. But when Gaerity’s bombing plans included the killing of innocent civilians, Liam opposed him and thwarted his efforts. As a result, Liam escaped to the United States to become Jimmy, and Gaerity was arrested and sent to prison. But now that Gaerity is out of jail, he is traveling to Boston to wreak havoc upon the city in revenge for what Jimmy has done to him. His plan is to create so many bombings in Boston that the bomb squad’s strength will be depleted, allowing him to get to Jimmy and his family. The goal? Blowing up Jimmy’s wife (Suzy Amis) and stepdaughter at a Boston Pops concert.

A surreal crime drama told as only Jim Jarmusch could, Ghost Dog: The Way of the Samurai stars Forest Whitaker as Ghost Dog, a hit man living in an unidentified but run-down city in what license plates call “The Industrialized State.” Known for his gift of being able to come and go without people noticing him, Ghost Dog is a self-taught samurai who is obsessed with order and his strict personal moral code, drawn from the philosophies of the Japanese warriors. As every samurai needs a leader to whom he swears loyalty, Ghost Dog has devoted himself the service of Louie (John Tormey), a low-level crime boss who once saved his life. When Louie’s superiors decide he must be executed, Ghost Dog leaps into action, methodically wiping out his many enemies. Along with a dizzying series of stylized shoot-outs, Ghost Dog also features carrier pigeons, characters who read Rashomon, a French-speaking ice cream man, and a score by RZA from the top-selling hip-hop group Wu-Tang Clan, who have their own well-documented obsession with Asian culture. Ghost Dog was screened in competition at the 1999 Cannes Film Festival.

Director Kevin MacDonald teams with screenwriter Jeremy Brock to adapt Giles Foden’s novel detailing the brutal reign of Ugandan dictator Idi Amin as seen through the eyes of his personal physician. James McAvoy stars as the doctor who slowly realizes that he is trapped in an inescapable nightmare, and Forest Whitaker assumes the role of the notorious despot.

Small-time crook Mickey Rourke is mockingly named Johnny Handsome because of his grotesquely deformed face. While in stir on a robbery rap, Rourke is knifed by convicts in the employ of his former partner–and now bitter enemy–Lance Henriksen. While in the prison hospital, Rourke is cared for by a kindly doctor (Forrest Whitaker), who believes that the key to Rourke’s rehabilitation might be a literal change of face. Undergoing plastic surgery, Rourke emerges as virtually unrecognizable to everyone but the audience. Paroled, Rourke seems to be willing to follow a straight and narrow path. Seems to be. Only Morgan Freeman, playing a hard-bitten law officer, sees through Rourke’s “new leaf.”

A well-regarded spec script by A-list screenwriter David Koepp became this stylish thriller from director David Fincher. Jodie Foster stars as Meg Altman, a single mother of an diabetic preteen daughter, Sarah (Kristen Stewart). Meg’s going through an unhappy divorce that forces her and Sarah to move into a new home. They choose a deluxe New York brownstone that coincidentally boasts an unusual feature: a “panic room,” a vault-like hidden space capable of literally sealing itself off from the rest of the building. With its thick steel door on springs, separate ventilation and communications systems, and video monitors linked to cameras mounted throughout the home, the room is an impregnable fortress. It quickly comes in handy when the Altmans’ new residence is invaded by a trio of thieves: Junior (Jared Leto), Burnham (Forest Whitaker), and Raoul (Dwight Yoakam). Meg and Sarah are able to secure themselves in the panic room before the robbers can get to them, but it turns out that Sarah’s medication is still on the outside, the phone’s not yet connected, and the loot the gang’s seeking is inside the panic room with them. A cat-and-mouse battle of wits ensues, with Meg trying to outwit their captors over the course of one very long night, as her daughter’s health dissipates. Panic Room (2002) co-stars Ann Magnuson, Patrick Bauchau, and Koepp’s fellow screenwriter, Andrew Kevin Walker, in a cameo role.

An ordinary man remakes himself into a warrior after the death of his family in this thriller. Jack Elgin (Jeremy Irons) is a magazine editor living in London with his wife and three children. Elgin joins his spouse and his children as they set off for a trip to India, and when the plane lands due to mechanical failures, the flight is hijacked by terrorists from the “August 15th Movement,” who insist on 50 million dollars in ransom from the United States government. The U.S. administration delivers on the request, but as the terrorists begin to evacuate hostages from the plane, circumstances go awry and Elgin’s wife and child die in the subsequent fire. The hijackers are soon arrested but released from custody, and when Elgin protests this turn of events to a representative of the U.S. State Department (Jason Priestley), he is told there’s little than can be done — unless he’s willing to take the law into his own hands. With the help of his friend Kate (Charlotte Rampling), who is well-schooled in the finer points of international intelligence, Elgin becomes a one-man anti-terrorist squadron, tracking down extremist factions and turning their own weapons against them. Elgin’s work is so impressive it attracts the attention of Jules Bernard (Forest Whitaker), an FBI agent who has his own agenda regarding shutting down terrorists. The Fourth Angel was co-produced by American independent studio Artisan Entertainment, but its U.S. theatrical release was canceled in the wake of the September 11, 2001, terrorist attacks on New York and Washington, D.C.