Bovie Movie

Acclaimed director David Fincher’s promising career was lucky to survive this astonishingly wrong-headed, almost universally despised second sequel to Alien (1979). The film careens into oblivion virtually from the beginning, as Lt. Ellen Ripley (Sigourney Weaver) is the only survivor of a crash-landing on a hellish, God-forsaken prison planet. Not only does the crash kill little Newt, completely obviating the entire point of the superior Aliens (1986), but Fincher then compounds his betrayal of that film’s fans by having Ripley attend the girl’s gruesome autopsy and barely bat an eye as the child’s chest is bloodily ripped open with a steel bonesaw. Things just go downhill from there, as the rather unthreatening rapists and murderers harass Ripley and curse a great deal before being torn apart by large fans, having their heads crushed by the unconvincing CGI alien, and finally volunteering to be murdered by the beast rather than letting the evil Company get hold of it. Fincher does the best he can with a terrible script, and there are some nice supporting turns by Charles S. Dutton, Charles Dance, and Brian Glover, but nothing could redeem the film’s first 15 minutes. By the time Ripley takes a suicidal swan-dive into a vat of molten lead, cradling a baby alien as it explodes from her chest, many viewers will not know whether to reach for the remote control or a warm bath and a razorblade. A loathsome experience by any standard, Alien 3 still made enough money for Weaver to return as a Ripley clone in Alien Resurrection (1997).

Wayne is back, this time trying to organize a rock festival with help from friend Garth and the spirit of Jim Morrison (Doors). Meanwhile, his girlfriend’s manager is busy trying to woo her away from Wayne and move her to LA. Life gets interesting when Wayne must rush from the concert to try and stop the wedding. Aerosmith are featured at the concert.

Planned for years, but plagued by problems such as the death of director John Frankenheimer before production had even begun and the exiting of star Liam Neeson, the fourth installment of the Exorcist saga finally got off the ground with Paul Schrader (Affliction, Auto Focus) behind the camera and Stellan Skarsg?rd filling the shoes left empty by Neeson. But the pitfalls didn’t stop there, as Morgan Creek decided against their initial approach assigned to Schrader after seeing his finished cut, and hired Renny Harlin to reshoot the film with extra gore and head-spinning nastiness. The first prequel in the series, Exorcist: The Beginning is based upon events occurring before the first film. Playing the character made famous by Max von Sydow in the earlier films, this entry finds Skarsg?rd as a young Father Merrin facing true evil for the first time in Africa in the wake of World War II. When a young local boy begins to behave strangely, it becomes more and more apparent to Merrin that the child is a victim of demonic possession. Boasting a first-time screenplay by best-selling novelist Caleb Carr (The Alienist), Exorcist: The Beginning features a supporting cast headed by Izabella Scorupco (GoldenEye) and James D’Arcy (Master And Commander).

Buster is a small time crook who pulls a big time job. When he finds that the police will not let the case drop, he goes into hiding and can’t contact his wife and child. He arranges to meet them in Mexico where he thinks they can begin again, but finds that he must choose between his family and freedom.

The film begins at the Montana ranch home of a former CIA Opperative - James Dial played by Wesley Snipes. One last time, he is coaxed back into action to kill a terrorist in London. It all goes wrong and he is forced into hiding where he meets and befriends a 12 year old girl.

The classic Burt Reynolds football-behind-bars flick The Longest Yard crosses the pond and gets an appropriate British accent in the process in this rough-and-tumble mixture of sports and action-comedy. Danny Mehan (Vinnie Jones) was one of the biggest stars in British football (what Americans call soccer), until he was caught rigging a game during a championship tournament. In the wake of this scandal, Danny’s career takes a nosedive and his life spins out of control, until he finally ends up in prison for three years on an assault and battery conviction. Danny discovers there are a number of football fans behind bars who still hate him for fixing the game, but Danny has one powerful fan in this prison. The warden (David Hemmings) is a devoted football supporter with a taste for gambling; he’s been trying to assemble a semi-pro team comprised of the prison’s guards, but Danny is just smart enough to know this would seal his fate with his fellow prisoners. Instead, he offers to put together a team of inmates, who can play practice games against the guards. A new inmate, Sykes (John Forgeham), gets wind of Danny’s idea and arranges an exhibition match between Danny’s new team and the guards, though Sykes’ motivation is more than just good fun. A powerful bookie, Sykes lost a fortune on the game Danny threw, and expects betting to be heavy for this game. If Danny and his men win, Sykes could make back the fortune he lost, but if the guards come out ahead, Danny’s goose is cooked. Can Danny turn a gang of losers, misfits, and violent psychopaths — including muscle-bound lunatic Monk (Jason Statham), creepy but loyal Billy the Limpit (Danny Dyer), tough guy Massive (Vas Blackwood), pyromaniac Nitro (Robbie Gee), and enthusiastic but out-of-shape Raj (Omid Djalili) — into a proper team with a fighting chance of winning? Mean Machine was produced by Matthew Vaughn, who was also behind Guy Ritchie’s tough-but-stylish crime comedies Lock, Stock and Two Smoking Barrels and Snatch. Star Vinnie Jones, by the way, enjoyed a career as a professional footballer in Great Britain before turning to acting.

Director Dan Reed’s revenge thriller Straightheads constitutes a long, penetrating meditation on the psychological fallout experienced by two attack victims. This cathartically ultraviolent picture opens on a deceptively placid note - with romance blossoming between Alice (Gillian Anderson) and a much younger electrician, Adam (Danny Dyer). When the pair’s relaxing sojourn at a country estate leads to a skirmish with a trio of backwoods toughs, Danny is beaten unconscious and scarred, and Alice brutally raped. In an attempt to cope with the trauma, the two put their heads together, pack guns, and venture out to the scene of the attack - where they plan to find the responsible parties and turn the tables by exacting an ugly toll of sexual violence on their psychotic victimizers.