Bovie Movie

A mechanic in the British drug trade finds himself caught in the middle of some dangerous circumstances in this crime thriller. XXXX (Daniel Craig) is a nameless go-between in the British mob who buys drugs from underground wholesalers and them sells them to street dealers, keeping the system flowing and making a tidy profit in the process. XXXX is looking forward to getting out of the game, and has displayed both smarts and caution in how he’s handled his business, but before his overseer Jimmy Price (Kenneth Cranham) will let him go, he has a couple of favors that need to be done. First, Eddie Temple (Michael Gambon) is a mob boss whose daughter has gotten hooked on hard drugs and run away from home; Jimmy needs XXXX to find them girl and bring her to him before Eddie’s men can get hold of her. Second, Dragan (Dragan Micanovic) is a Ecstasy wholesaler who has had a large shipment stolen by Duke (Jamie Foreman); Jimmy wants XXXX to get the Ecstasy back to Dragan, but Duke isn’t eager to sell and Dragan is becoming impatient. Between these two matters, XXXX isn’t so sure he’ll get out of the business alive, especially after he finds himself falling for Duke’s nephew’s girlfriend, Tammy (Sienna Miller). Layer Cake marked the directorial debut for Matthew Vaughn, best known as a producer for Guy Ritchie’s lad-centric crime movies.

In this suspenseful horror movie, a lovely runaway and a helpful hero go looking for the fearsome “Headhunter,” the ghoulish hooded killer who sawed off the heads of her parents.

A portrait of a cold-blooded young gangster living and loathing in 1960s London, this drama features Malcolm McDowell in a major role in his first British picture in years. McDowell opens the film as the present day Gangster 55, who learns that an old associate, gangster Freddie Mays (David Thewlis), has just been released from prison after serving a 30-year sentence. The story then flashes back to 1968, when the young Gangster 55 (Paul Bettany) makes Mays’ acquaintance and subsequently wins his trust by dealing with his enemies from a rival gang. The relationship between the two men is threatened when Mays falls for Karen (Saffron Burrows), a no-nonsense dancer. When 55 learns that Lennie (Jamie Foreman), a rival gang leader, plans to ambush Mays and Karen one night, he pits the two gangs against one another so that he can emerge as Gangster No. 1. The film was directed by Paul McGuigan, who previously examined the crusty underbelly of British society with his screen adaptation of Irvine Welsh’s The Acid House (1998).

Horror fantasist Clive Barker, director of the original Hellraiser, maintained creative control over this worthy sequel as Executive Producer, but was unable to occupy the director’s chair due to his involvement on other projects. His creative touch is still quite evident here, as the original film’s story is expanded in scope and intensity. The story picks up immediately after the events of the original, with the mentally-unbalanced Kirsty (Ashley Laurence) confined to a mental hospital after her experiences in the hellish domain of the grotesque Cenobites, which included the gruesome death of her father. Her case attracts the attention of hospital director Dr. Channard (Kenneth Cranham), whose marked interest in her story has more than a little to do with his research into the occult. The chief focus of this extracurricular activity seems centered on his impressive collection of puzzle boxes, many of which are versions of the Lament Configuration — the device which opens the gateway to the Cenobites’ dimension. To further realize his diabolical obsession, Channard conducts grisly human sacrifices to resurrect the body of Kirsty’s evil stepmother Julia (Clare Higgins) — who has literally been through hell and back. He also recruits mute autistic patient Tiffany (Imogen Boorman), an expert at solving puzzles, to decipher the correct version of the box. Haunted by visions of her mutilated father suffering in hell, Kirsty joins Tiffany in hopes of rescuing him from the Cenobites’ dimension. Tiffany gains them access to the portal, and they make the nightmarish journey down the corridors of hell. Narrowly escaping the diabolical Pinhead (Doug Bradley), they come face-to-face with Julia, who has already handed Dr. Channard over to the Cenobites to be transformed into a hideous new creation. First-time director Tony Randel acquits himself nicely, and seems to have a real flair for the surreal material; the script by longtime Barker collaborator Peter Atkins elaborates on elements only hinted at in its predecessor. It should follow that the slightly larger budget would allow ample room for this expansion, but the production values actually appear somewhat slimmer. What the film lacks in refined style it makes up for in utter dementia, particularly in its depiction of graphic bloodletting — numerous scenes were trimmed or deleted altogether in order to obtain an ‘R’ from the MPAA.