Bovie Movie

Jack Nicholson becomes a werewolf in this bizarre comedy-horror film directed by Mike Nichols. Nicholson plays Will Randall, a book editor with a testosterone deficit who has just been sacked at his publishing firm by a new boss, Raymond Alden (Christopher Plummer). A colleague, Stewart Swinton (James Spader), whom Randall thought was his friend, betrays him. Randall’s personality changes after he hits a wolf with his car and gets bitten by the creature. He immediately feels more powerful, has heightened hearing and vision, and sets about to right the wrongs in his life. He visits Alden at the publisher’s mansion to protest his dismissal, and he is asked to leave — but Alden’s daughter Laura (Michelle Pfeiffer) asks him to stay for lunch. Laura loves to defy her father. Will tells her about the wolf bite, and she becomes attracted to him. But because werewolves usually kill the ones they love, Laura is in danger. Will reasserts his place in the publishing world, supported by his loyal secretary Mary (Eileen Atkins), and his relationship with Laura deepens.

Tom Jones director Tony Richardson might seem a curious choice to direct the contemporary western The Border, but he does his best to emulate Sam Peckinpah. Jack Nicholson stars as an El Paso border guard, saddled with avaricious wife Valerie Perrine. Hoping to stifle her nagging about money matters, Nicholson begins accepting payoffs to allow Mexican aliens to cross the border without interference. This leads to a relationship with a young Mexican mother Elpidia Carillo. Harvey Keitel and Warren Oates lend strong support to this atmospheric tale.

With an insane asylum standing in for everyday society, Milos Forman’s 1975 film adaptation of Ken Kesey’s novel is a comically sharp indictment of the Establishment urge to conform. Playing crazy to avoid prison work detail, manic free spirit Randle P. McMurphy (Jack Nicholson) is sent to the state mental hospital for evaluation. There he encounters a motley crew of mostly voluntary inmates, including cowed mama’s boy Billy (Brad Dourif) and silent Native American Chief Bromden (Will Sampson), presided over by the icy Nurse Ratched (Louise Fletcher). Ratched and McMurphy recognize that each is the other’s worst enemy: an authority figure who equates sanity with correct behavior, and a misfit who is charismatic enough to dismantle the system simply by living as he pleases. McMurphy proceeds to instigate group insurrections large and small, ranging from a restorative basketball game to an unfettered afternoon boat trip and a tragic after-hours party with hookers and booze. Nurse Ratched, however, has the machinery of power on her side to ensure that McMurphy will not defeat her. Still, McMurphy’s message to live free or die is ultimately not lost on one inmate, revealing that escape is still possible even from the most oppressive conditions.

In this military courtroom drama based on the play by Aaron Sorkin, Navy lawyer Lt. Daniel Kaffee (Tom Cruise) is assigned to defend two Marines, Pfc. Louden Downey (James Marshall) and Lance Cpl. Harold Dawson (Wolfgang Bodison), who are accused of the murder of fellow leatherneck Pfc. William Santiago (Michael de Lorenzo) at the U.S. Navy base at Guantanamo Bay, Cuba. Kaffee generally plea bargains for his clients rather than bring them to trial, which is probably why he was assigned this potentially embarassing case, but when Lt. Commander JoAnne Galloway (Demi Moore) is assigned to assist Kaffee, she is convinced that there’s more to the matter than they’ve been led to believe and convinces her colleague that the case should go to court. Under questioning, Downey and Dawson reveal that Santiago died in the midst of a hazing ritual known as “Code Red” after he threatened to inform higher authorities that Dawson opened fire on a Cuban watchtower. They also state that the “Code Red” was performed under the orders of Lt. Jonathan Kendrick (Kiefer Sutherland). Kendrick’s superior, tough-as-nails Col. Nathan Jessup (Jack Nicholson), denies any knowledge of the order to torture Santiago, but when Lt. Col. Matthew Markinson (J.T. Walsh) confides to Kaffee that Jessup demanded the “Code Red” for violating his order of silence, Kaffee and Galloway have to find a way to prove this in court. A Few Good Men also features Kevin Bacon as prosecuting attorney Capt. Jack Ross and Kevin Pollak as Kaffee and Galloway’s research assistant, Lt. Sam Weinberg.

This quirky science fiction comedy is a characteristic feature by iconoclastic director Tim Burton, known to moviegoers for Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas. The storyline affectionately harkens back to the deadpan sincerity of such ’50s and ’60s science-fiction films as The Day the Earth Stood Still and War of the Worlds. Flying saucers have been reliably seen over the capitals of the world, and the whole world awaits with bated breath to see what will transpire. Among those waiting is the President of the United States (Jack Nicholson), who is assured by his science advisor (Pierce Brosnan) that the coming aliens are utterly peaceful. This advice is hotly contested by the military (led by Rod Steiger), who advices the President to annihilate them. When the aliens land, they are seen to be green, garish, and very cheerful. But appearances prove deceiving when the “friendly” aliens abruptly disintegrate the entire U.S. Congress. Hollywood notables appear in vast quantities in roles (and sub-plots) of all sizes in this zany feature.

Nancy Meyers' critically acclaimed and Oscar-nominated comedy Something's Gotta Give stars Jack Nicholson and Diane Keaton as a middle-aged man and woman who, despite their best efforts, fall in love with each other. Co-starring Keanu Reeves, Amanda Peet, and Frances McDormand, the film is presented on this DVD in widescreen with the audio mastered in Dolby Digital 5.1 Surround Sound. Additionally, there is an optional French-dubbed soundtrack and subtitles are available in English, Spanish, and French. Complimenting the film, the disc includes a host of bonus features. "Hamptons House Set Tour" is a featurette hosted by Peet that offers audiences a closer look at the house in which the bulk of the film is set. There's a feature-length commentary track by the director and members of the cast as well as a collection of deleted scenes. Rounding out the supplemental material is another featurette, theatrical trailers, and filmographies for the cast and crew.

James L. Brooks (Terms of Endearment, Broadcast News) directed this $50 million-plus romantic comedy, set in Manhattan. Dysfunctional, acid-tongued romance novelist Melvin Udall (Jack Nicholson), who suffers from an obsessive-compulsive disorder, takes pride in his ability to offend. At a nearby cafe, the only waitress willing to stand up to his sarcastic tirades is Carol Connelly (Helen Hunt), a single mother struggling to raise her chronically asthmatic son. In Melvin’s West Village apartment building, talented contemporary artist Simon Nye (Greg Kinnear) lives across the hall from Melvin. Simon is the current darling of the New York art world, reason enough to draw Melvin’s verbal fire, but Simon’s gay lifestyle is further grist for the novelist’s malicious mill. These three New Yorkers, none of whom appears to have a chance in hell at finding true happiness, discover their fates intertwined because of the fourth complicated character in the piece, Verdell, a tiny Brussels Griffon dog (played by newcomer Jill, after a 15-week training program). Melvin seems to have no friends or family, and he lives alone, working on his 62nd book.

When Simon goes into the hospital after a brutal mugging, Melvin has to take care of Verdell, and the dog actually warms Melvin’s cold heart — to the degree that he sets up unsolicited medical care for Carol’s son. Eventually, Melvin is cornered into driving Simon and Carol to Baltimore, and during a hotel stopover, Melvin confesses to Carol, “You make me want to be a better man.” The trip becomes an odyssey of self-realization for all three. Locations included Brooklyn’s Prospect Park (Carol’s neighborhood) and Greenwich Village (where Melvin’s building is on 12th Street between Fifth and Sixth Avenues). Other exteriors were shot in downtown Los Angeles, where a dilapidated transient hotel at the corner of 4th Street and Main was transformed into the chic cafe where Carol works. Sets for the Simon/Melvin apartment interiors were erected on a soundstage at the Sony Pictures lot. Simon’s paintings were created for the film by New York artist Billy Sullivan, whose work is part of the modern art collection at NYC’s Metropolitian Museum of Art and the New Orleans Museum of Art.

Dreams die hard in wintry Atlantic City in Bob Rafelson’s downbeat character drama. Depressive deejay David Staebler (Jack Nicholson) tends to his grandfather as he philosophizes on late-night Philadelphia talk radio. When his huckster older brother Jason (Bruce Dern) calls out of the blue one day, David travels to Atlantic City to see what his latest easy money scheme is. Along with his former beauty queen companion Sally (Ellen Burstyn) and her pretty stepdaughter Jessica (Julia Anne Robinson), Jason plans to open a resort on a small Hawaiian island, insisting to an initially skeptical David that the deal is as good as done. David plays along but, as he learns the reality of the situation, tries to talk some sense into Jason. Jason and his women will have none of it, leading to a tragic lesson about the cost of superficial values like beauty and wealth, and the limits of brotherly love. Rafelson’s follow-up to his 1970 hit Five Easy Pieces once again questions American myths of success, with one brother unwilling to come to earth to realize his dreams and the other unable to do much beyond talk about his inertia to an unseen radio audience. With Five Easy Pieces star Nicholson as the introverted lead, and impressive cinematography by Laszlo Kovacs, The King of Marvin Gardens had the makings of another Hollywood New Wave hit. The response, however, was not what stumbling BBS Productions hoped, as Columbia barely supported the film and 1972 audiences were not as responsive to Rafelson’s second exploration of contemporary alienation. The King of Marvin Gardens’ artful depiction of disillusionment roots it firmly in the 1970s Hollywood art cinema, and its failure became one more sign of that cycle’s popular limits.

The Witches of Eastwick, a memorable comedy with a dark edge, is based upon a novel by John Updike. On Thursday nights three female friends — Alex (Cher), Sukie (Michelle Pfeiffer), and Jane (Susan Sarandon) — meet to chug martinis, learn Chinese aphrodisiac cooking and lament the scarcity of eligible men. As they sit around, they fantasize about and describe their idea of the ideal male. Arriving in town the following day is Satan, disguised as mysterious stranger Darrell Van Horn (Jack Nicholson). One by one, Van Horne seduces each of the women. Then, strange things begin to happen. When the town matriarch Felicia (Veronica Cartwright) publicly denounces Van Horne, she sustains a nasty compound fracture. When she forces her editor husband to publish a story about Van Horne’s sexual antics, Darrell gets his revenge with revoltingly large amounts of cherries. The women now see that they may be in danger and begin to plot their escape.