Bovie Movie

Defense attorney Claire Kubik (Ashley Judd) seems to have the perfect life. She has a high profile job at a big firm, a beautiful home outside San Francisco, and a husband, Tom (James Caviezel of The Thin Red Line), who loves her. Claire’s biggest problem appears to be that she wants to have a baby, and she’s having trouble getting pregnant. But when the police investigate a routine break-in at her home, they uncover the truth about her husband’s identity, and her life is thrown into turmoil. Claire finds out that her husband’s name is actually Ron Chapman, and that he’s an ex-marine accused of murdering seven innocent civilians in El Salvador during a raid in the late ’80s. He admits that he was there, and that he changed his identity to escape prosecution for the crimes, but he insists that he’s innocent, and that the massacre was committed by another soldier under the orders of a powerful general (Bruce Davison), who is using Ron as a patsy to cover it up. Claire is eventually convinced that Ron’s telling the truth. Faced with defending her husband in an unfamiliar military courtroom, Claire enlists the aid of Charles Grimes (Morgan Freeman), an ex-Army judge advocate with an axe to grind. Stonewalled by the military bureaucracy at every turn, they uncover a web of deception and disappearing witnesses, and they soon find their own lives in danger. High Crimes was adapted from Joseph Finder’s novel by the husband and wife screenwriting team of Yuri Zeltser and Cary Bickley. The film was directed by Carl Franklin (One False Move), and co-stars Amanda Peet and Adam Scott.

A young schoolteacher with a serious fear of hospitals must face her worst fears when her boyfriend is injured in a car accident and spirited away to a nightmarish medical center where demons don medical scrubs and nefarious nurses bathe in the blood of their suffering patients. Amy’s (Christine Taylor) boyfriend has just been involved in a major car accident, but when Amy receives word that her boyfriend has been taken to a hospital that no longer exists, she determines to face her fears and bring her boyfriend back home no matter what horrors await her. Accompanied by a concerned stranger (Jerry O’ Connell) who remains steadfast in his determination to solve the mystery of St. Rosemary’s, Amy is forced to enter a hallucinatory world of soul-shredding terror where nothing is as it seems and unspeakable horrors lie down every dark and lonely hallway.

In the tradition of such psychologically-charged sci-fi outings as The Next One (1982) and K-PAX (2001) comes the cerebral science fiction opus The Man From Earth (2007). The story concerns Professor John Oldman, a scientist who summons a group of associates to a cabin one freezing night, and strikes them with a fantastic revelation: he is not a traditional human, but a 14,000 year-old immortal, who has survived centuries of evolution from the Cro-Magnon Era to the present. In the hours to follow, Professor Oldman’s earth-shaking assertion about himself challenges the men on spiritual, scientific and historical levels. But the most incredible is yet to come - an even more astonishing truth in which the men’s discussions culminate.

The Oprah Book Club best-seller by Janet Fitch makes it to the big screen in this adaptation from British director Peter Kosminsky. White Oleander recounts the traumatic adolescence of Astrid Magnusson (Alison Lohman), who finds herself an orphan after her short-fused, enigmatic artist mother Ingrid (Michelle Pfeiffer) is carted off to prison on murder charges. Astrid first finds herself in the care of Starr (Robin Wright Penn), a garish, born-again mother of two with a gruff but sensitive boyfriend (Cole Hauser). From there, she’s shunted back to a state-run facility, where she tangles with other troubled teens and finds temporary solace in the arms of Paul (Patrick Fugit), a dough-faced comic book artist with dreams of moving to New York City. Astrid then lucks into a living arrangement with a successful but insecure actress (Renee Zellweger) who offers her unconditional love. But Ingrid’s stifling influence continues to haunt her daughter, whether through the occasional prison visit or via manipulative letters to Astrid’s caretakers. White Oleander received a Gala North American premiere at the 2002 Toronto Film Festival before reaching multiplexes later that fall.