Bovie Movie

Two sets of crooks — one of beginners, the other old hands at the game — are lured by the promise of the big heist in a comedy drama from writer and director James Hausler. Wilson (Robert Forster) has just been released from prison after serving 25 years for armed robbery. While Wilson is edging into retirement age, he still has an old score to settle with Mackey (Robert Loggia), a career criminal who helped put Wilson behind bars. Wilson teams up with Marvin (Richard Roundtree), a fellow ex-con who also has a beef against Mackey, and together they set up a heist in order to hit their rival where it hurts. Meanwhile, Buckely (James Hausler) is a slacker who thinks a life of crime might be easier than holding down a real job. With the help of his pals, Buckley maps out a robbery that should earn him a sizable payday, though it doesn’t take long for his inexperience to become an issue. Also featuring Lucie Arnaz and Christopher Clark, Wild Seven received its world premiere at the 2006 Los Angeles Film Festival.

Richard Roundtree cuts a startlingly new and powerful heroic figure as John Shaft, “the cat who won’t cop out, when there’s danger all about” in Gordon Parks’ seminal action film, Shaft. John Shaft is a black private eye with a small office near Times Square. On his way there one day, he gets pumped for information by Lt. Victor Androzzi (Charles Cioffi), a friend of his on the police force, about something big going down in Harlem involving black crime kingpin Bumpy Jonas (Moses Gunn). Shaft can’t help him and leaves, only to just miss being waylaid by two of Bumpy’s strong-arm men at his office, one of whom ends up dead on the pavement eight floors or so below. Squeezed by the cops, who are holding a potential manslaughter arrest over his head, Shaft contacts Bumpy, who reveals that his teenage daughter, whom he’s always kept away from his business, has been kidnapped. There’s been no ransom demand and no clue as to who did it, and he wants Shaft to find the culprits, insisting that he start with a group of Harlem-based black militants led by Shaft’s onetime friend Ben Buford (Christopher St. John). No sooner does he find Buford, holed up in a decaying part of Harlem, however, than his friend’s comrades are mowed down by submachine gun fire, and Shaft and Buford barely escape. With Shaft angry and out for blood, everyone is forced to come clean — Bumpy knows that it’s the Mafia that kidnapped his daughter, as they want in on the Harlem drug trade that he controls; they’re holding her somewhere else outside of Harlem, where his men are no good to him, which is why he wanted Shaft to hook up with Buford. Androzzi tells Shaft that a dozen Mob trigger men from out of town have been spotted in Greenwich Village. He doesn’t know why they’re there, but he does know that if fighting breaks out between Bumpy’s men and the Mafia, it’s going to look like a race war, and the whole city could erupt. Shaft doesn’t like the way he’s been manipulated, but he sees Androzzi’s point — he links the trigger men to the kidnapping and finds the girl, but loses her again, getting shot in the process. Even though he’s wounded, Shaft heads for a final confrontation with the kidnappers, supported by Ben’s friends in an armed assault on the building where they’re holed up.

A tough-talking teen attempts to uncover his ex-girlfriend’s killer in director Rian Johnson’s hard-boiled high-school noir, told in the style of a Dashiell Hammett mystery. An outsider by nature, Brendan (Joseph Gordon-Levitt) is forced to penetrate the elaborate ranks of the high-school social scene and its more insidious underbelly when the body of his former girlfriend Emily is found lying lifeless in a remote creek. Though the pair had been on the outs, Brendan can’t seem to shake the hysterical phone call that he received from Emily the day before her body was discovered, a call in which she rattled off a number of cryptic words: “brick,” “pin,” “tug,” “poor Frisco.” He’s determined to find the guilty party, and to do that he’ll need to uncover the meaning behind her enigmatic phone call. From the highest-ranking athlete to the lowest-level burnout, no one is above suspicion of leaving her in that creek or putting her in the position to end up there. Brendan’s skill for getting the right attention from the right people leads him to a local drug dealer of urban-legendary status (Lukas Haas), who walks with a cane and lives with his mother. As Brendan infiltrates the social and political web more deeply, his theory solidifies and each player’s role becomes clear, from the shifty-eyed pot slinger to an upper-crust innocent who may well be a femme fatale. Brendan may soon be ready to make his case, even if it’s too late for him to get out.

Two guys looking for a respite from their bumpy romantic lives find themselves in the midst of a very confusing situation in this broad comedy. Jerry (Cuba Gooding Jr.) is a guy who thinks he’s found the love of his life in Felicia (Vivica A. Fox), his beautiful longtime girlfriend. Jerry decides to propose to Felicia, and arranges for a hot-air balloon ride in order to create the ideal setting to pop the question. However, Felicia not only turns him down, she announces that she’s leaving him for another man. Jerry sinks into a deep depression, until his best friend Nick (Horatio Sanz), who has been having his own romantic problems, suggests they take a vacation cruise on an ocean liner, forgetting their troubles while they make time with bikini-clad babes. Jerry is game, but after an angry misunderstanding with a travel agent, Nick and Jerry discover they’ve been booked on a tour specifically for gay men. Jerry and Nick are forced to pose as lovers to ward off the indefatigable advances of aging playboy Lloyd (Roger Moore), which cramps their style when the ship’s captain rescues a boatload of buxom Swedish swimsuit models. Jerry’s spirits rise when he meets Gabriella (Roselyn Sanchez), a beautiful dancer who is part of the ship’s entertainment staff. Jerry, however, now has to walk a fine line between maintaining his cover and convincing Gabriella that despite outward appearances, he’s not gay. Boat Trip was the first feature film from director Mort Nathan, best known for his work as a writer for television.