Bovie Movie

Dedicated to Tomoyuki Tanaka (1910-1997), who produced the 1954 original and sequels, the Devlin/Emmerich interpretation displays a redesign of Godzilla, now a large lizard mutated after fallout from French nuclear tests. A blinding flash of white light fills the Eastern sky. Thousands of miles away, the Pacific Ocean churns, engulfing a freighter. On another part of the globe, giant footsteps plow a path through miles of Panamanian forests, Tahitian villages, and Jamaican beaches. In the Ukraine, biologist Dr. Niko Tatopoulos (Matthew Broderick), with the U.S. Nuclear Regulatory Commission, is examining the impact of radiation on Chernobyl earthworms. Colonel Hicks (Kevin Dunn) and a military team escort Niko to check out giant claw marks on the beached freighter; they’re joined by paleontologists Elsie Chapman (Vicki Lewis) and Mendel Craven (Malcolm Danare). Blood and giant-size footprints indicate “some sort of enormous reptile.” French secret agent Philippe Roache talks to the freighter’s only survivor, who keeps repeating, “Gojira…Gojira.” Tatopoulos et al arrive in Manhattan’s Fulton Fish Market where Godzilla surfaces, moving on to the NYC financial district where Mayor Ebert (Michael Lerner) is speaking. Ambitious Audrey Timmonds (Maria Pitillo), who works for TV news anchor Charles Caiman (Harry Shearer), is Niko’s former girlfriend, and she uses this to her professional advantage. As the wave of destruction continues, Niko and Roache track the creature through the evacuated city and discover Godzilla’s eggs about to hatch in Madison Square Garden. They are followed by Audrey and TV cameraman Victor “Animal” Palotti (Hank Azaria), and soon the hatching Godzilla offspring prowl the Garden corridors, leading to a final showdown.

When the spirit of Christmas compels a small-town New Englander to decorate his home with enough lights to make it visible from space, much more is set to be decked than just the halls in this holiday comedy featuring Danny DeVito and Matthew Broderick as two warring neighbors determined to outdo each other in creating the best lighting display on the planet. Christmas is without question the most wonderful time of the year for Cloverdale, MA optometrist Steve Finch (Broderick). Unfortunately, the same can’t be said for Steve’s wife, Kelly (Kristin Davis), and the pair’s two children, Madison (Alia Shawkat) and Carter (Dylan Blue). Despite Steve’s annual holiday zeal, the rest of the Carters have grown to resent the seemingly endless family rituals leading up the Winterfest carnival over which their terminally cheerful patriarch presides. Though it seems that nothing in the world could dampen the spirits of the local “King of Christmas,” Steve soon finds his royal status challenged when used-car salesman Buddy Hall (Danny DeVito) moves in next door and covers his house with enough festive lights to make it visible from the deepest crater of the moon. His Yuletide thunder effectively stolen, Steve resorts to desperate measures in regaining his crown when Buddy’s lavish decorations make him a local celebrity, his wife strikes up a warm friendship with the neighbor’s outspoken better half, Tia (Kristin Chenoweth), and even the kids seem to warm to the car salesman’s air-headed twin daughters, Ashley and Emily (Sabrina and Kelly Aldridge).

In the William Goldman-scripted, Bryan Forbes-directed adaptation of Ira Levin’s savagely satiric sci-fi novel The Stepford Wives, housewife Joanna (Katharine Ross) moves with husband Walter (Peter Masterson) and their children to the “ideal” suburban community of Stepford, CT. Slowly, Joanna deduces that something is amiss; most of the other housewives are vapid creatures who speak in trivialities and live only to please their husbands. Together with new friend Bobby (Paula Prentiss), she investigates this curious status quo. When Bobby also succumbs to cloying sweetness, Joanna discovers that Stepford’s husbands have conspired with male chauvinist scientists to replace all the wives with computerized android duplicates. The Stepford Wives became a massive, runaway hit, earning four million dollars domestically. Mega-producer Scott Rudin and director Frank Oz teamed up for a remake in 2004.