Bovie Movie

Russian mobster Terek Murad has declared open season on the Russian militia and the FBI over the shooting of his brother in a Moscow nightclub. He hires the Jackal, a nasty assassin whom nobody has even seen, to kill the Director of the FBI. With nowhere else to turn (except a woman who used to work with the Basque separatists, who is now in the USA but whose exact whereabouts in unknown to all save Mulqueen), FBI Deputy Director Carter Preston (who was present at the Moscow shooting) and Major Valentina Koslova of the Russian milita (who pulled the trigger in that shooting) enlist the reluctant services of Declan Mulqueen, an imprisoned IRA sniper, to track the Jackal down, for Declan is the only other person who can positively identify the Jackal.

Fame hungry Roxie Hart dreams of a life on the Vaudville stage, and spends her nights jazzing it up in the bright lights of Chicago, continually hoping that she’ll find her lucky break, and be shot into 1920’s stardom, so able to flee her boring husband Amos. In awe of seductive club singer Velma Kelly (who is subsequantly arrested for the murder of her husband and sister - after discovering their affair), Roxie meets Fred Cassely a man who convinces her he can ‘make her showbiz career take off’. However after Roxie has undergone the ‘casting couch’ treatment, and Fred has had his wicked way with her, he reveals that he has no more connections in showbusiness than she does. This is the final straw for Roxie, and her constant anger at rejection explodes. She shoots Fred Cassely and kills him. Upon discovering her infidelity, Roxie’s husband Amos refuses to take the blame for the murder and Roxie is sent to jail, pending hanging. In jail she finally meets tabloid darling Velma Kelly, currently receiving huge media attention for the double murder she committed earlier in the tale. Sharing the clink with Velma, are a collection of other sly females, all awaiting trial for the murders of their own partners. Velma is aloof to Roxie, however the prison Warden Mrs Morton offers Roxie the opportunity of representation by slick Chicago lawyer Billy Flynn. Billy is more a showbiz P. R agent than a legal lawyer and minipulates the tabloids into thinking Roxie is no more than an innocent ‘good time girl’ who took the wrong path, than a scheming murderess. The tabloids go crazy for the new girl on the cell block, and Roxie finally becomes a star. However due to Roxie’s new found fame, Velma is forgotten about. She is forced to approach Roxie with an offer of a part in her Vaudville act (filling the gap left by her murdered sister), but Roxie turns down her offer flat, thinking she needs no support in topping the bill. However, just as Velma’s star fell, so does Roxie’s, when Go-to-hell Kitty arrives at the jail on a multiple murder charge, the press forget Roxie and now she and Velma are in the same boat. With one more trick up her sleave Roxie manages to bring the media attention back onto her, and her day in court arrives. Billy is now ready to play the ultimate showman!

Zack Mayo is a young man who has signed up for Navy Flight School. He is a Navy brat who has a bad attitude problem. Sgt. Foley is there to train and evaluate him and will clearly find Zack wanting. Zack meets Paula, a girl who has little beyond family and must decide what it is he wants to do with his life.

Jesse has to get out of Las Vegas quickly, and steals a car to drive to L.A. On the way he shoots a police man. When he makes it to L.A. he stays with Monica, a girl he has only known for a few days. As the film progresses, the police get closer to him, and the crimes escalate.

The tale of King Arthur and the Knights of the Round Table is always ripe for retelling. In this rendition, the sexy Richard Gere is Sir Lancelot, threatening to supersede the aging King Arthur (Sean Connery) by winning the love of his young wife Guinivere (Julia Ormond). This update of the age-old legend succeeds on the strength of Gere’s happy-go-lucky sex appeal, Ormond’s gorgeous period costuming, and Connery’s unbeatable wry nobility. The script focuses on the triangle of the three principals: the older man’s reluctance to relinquish his love and power to the younger man destined to supplant him; the young woman torn between her loyalty to her aged husband and her love for his rival; the young man balancing the demands of loyalty to his sovereign with the rewards of true love. This beautiful production forgoes the legend’s usual elements of magic and fantasy, leaving Merlin the Magician completely out of the picture.

Six incarnations of Bob Dylan: an actor, a folk singer, an electrified troubadour, Rimbaud, Billy the Kid, and Woody Guthrie. Put Dylan’s music behind their adventures, soliloquies, interviews, marriage, and infidelity. Recreate 1960s documentaries in black and white. Put each at a crossroads, the artist becoming someone else. Jack, the son of Ramblin’ Jack Elliott, finds Jesus; handsome Robbie falls in love then abandons Claire. Woody, a lad escaped from foster care, hobos the U.S. singing; Billy awakes in a valley threatened by a six-lane highway; Rimbaud talks. Jude, booed at Newport when he goes electric, fences with reporters, pundits, and fans. He won’t be classified.

Self-involved corporate raider Edward Lewis (Richard Gere) has recently split up with his girlfriend. Seeking directions to the Beverly Hills Hotel, he makes the acquaintance of free-spirited hooker Vivian Ward (Julia Roberts) and decides to put her on a 3,000-dollar retainer as his “date.” He Cinderellarizes her by bankrolling a full wardrobe and cosmetic makeover. Of course, the setup will be strictly platonic. A disarming modern-day fairy tale, Pretty Woman was the picture that made Julia Roberts a superstar. As charming as she is in her “giggling” sequences, Roberts’ best scene is her triumphant return to a posh Rodeo Drive shop where she’d been previously snubbed. Keeping Pretty Woman afloat throughout is the buoyant direction of Garry Marshall and the always welcome presence of Marshall’s stock company of actors, including Hector Elizondo as a stuffy but golden-hearted concierge. Pretty Woman began its life as a much darker story of prostitutes and homicidal drug dealers, but more box-office-savvy heads ultimately prevailed.

In Final Analysis, Richard Gere stars as Isaac Barr, a San Francisco psychiatrist whose alluring patient Diana Baylor (Uma Thurman) is being treated for traumatic memories. In order to find out more about her trauma, Diana suggests that Isaac speak to her sister and question her about what went on between them in the past. But when Isaac sets eyes on Diana’s sister Heather (Kim Basinger), they become involved in a torrid and steamy sex affair. Unfortunately, Heather is married to psychotic sadist Jimmy Evans (Eric Roberts).

THE FLOCK is the story of hyper-vigilant federal agent (Gere) who, while training his young female replacement (Danes), must track down a missing girl whom he is convinced is connected to a paroled sex offender he’s investigating. Working against the clock they unravel the twisted details to track the potential killer.

A young journalist (Eisenberg), a seasoned cameraman (Howard) and a discredited journalist (Gere) embark on an unauthorized mission to find the no. 1 war criminal in Bosnia; they find themselves in serious jeopardy when they are mistaken as a CIA hit squad and their target decides to come after them.