Bovie Movie

This weak, unevenly plotted story of a con artist and his helper features Gregg Henry as Ben who works as a lounge pianist in a London hotel, and Elizabeth Daily as Cass, a fellow American out looking for some fun in life. The two team up to fraud hotel guests by stealing and using the guests’ credit cards, with Ben showing Cass the tricks of the trade. Their scam is not foolproof, so the daring duo may be living free on borrowed time unless they just happen to change their ways.

Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.

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.

A group of intrepid humans attempts to save the Earth from vicious extraterrestrials in this extremely popular science-fiction adventure. Borrowing liberally from War of the Worlds, Aliens, and every sci-fi invasion film inbetween, director Roland Emmerich and producer and co-writer Dean Devlin present a visually slick, fast-paced adventure filled with expensive special effects and large-scale action sequences. The story begins with the approach of a series of massive spaceships, which many on Earth greet with open arms, looking forward to the first contact with alien life. Unfortunately, these extraterrestrials have not come in peace, and they unleash powerful weapons that destroy most of the world’s major cities. Thrown into chaos, the survivors struggle to band together and put up a last-ditch resistance in order to save the human race. As this is a Hollywood film, this effort is led by a group of scrappy Americans, including a computer genius who had foreseen the alien’s evil intent (Jeff Goldblum), a hot-shot jet pilot (Will Smith), and the President of the United States (Bill Pullman). While some critics objected to the film’s lack of originality and lapses in logic, the combination of grand visual spectacle and crowd-pleasing storytelling proved irresistable to audiences, resulting in an international smash hit.

Neil Simon forgoes his typical urban East Coast kvetchers and replaces them with sunny Californian kvetchers in The Marrying Man, a film which became a beacon of gossip in 1991 due to the alleged shenanigans of stars Alec Baldwin and Kim Basinger), who fell in love during production. Simon based his script on a true story concerning the love affair between shoe tycoon Harry Karl and actress Marie (The Body) McDonald during the 1950s. Married to each other four times, McDonald still managed to carry on an affair with mobster Bugsy Siegel. In this Simon-ized version, Baldwin plays Charley Pearl, a sharp and handsome Hollywood millionaire, engaged to Adele Horner (Elisabeth Shue), the daughter of dyspeptic movie studio executive Lew Horner (Robert Loggia). The day before their wedding, Charley heads off to Las Vegas for a bachelor party, and in a sleazy casino on the outskirts of town, he sets his eyes on sexy singer Vicki Anderson (Basinger) and falls for her hard. He wants her immediately and even though she warns him she’s the property of Bugsy Siegel (Armand Assante), he crawls into her bedroom window to be with her. Caught with his pants down by Siegel, Bugsy, instead of killing him, forces him to marry Vicki (”I was about to dump her anyway,” he says). But after their marriage, Charley and Vicki discover they’re more attracted to the danger of their relationship than in each other. Charley’s friends — Phil (Paul Reiser), Sammy (Fisher Stevens), Tony (Peter Dobson), and George (Steve Hytner) — form a Greek chorus commenting on the crazed love affair and are reportedly inspired by Phil Silvers, Sammy Cahn, Tony Martin, and Leo Durocher.