Bovie Movie

Once upon a time, pursuing wolves frighten horses drawing a carriage, and it tumbles down a hill. Dying, the pregnant woman inside orders her grieving husband Frederick (Sam Neill) to cut the baby from her womb, so that at least it might live. Years later, the infant is now headstrong young Lilli (Taryn Davis), who is resentful of her father’s upcoming marriage to Claudia (Sigourney Weaver). Claudia is devoted to the memory of her own mother and installs a magic mirror that belonged to her in a wardrobe in her private room. More time passes; Lilli is now an adult, but her relationship with the now-pregnant Claudia has never improved, though Claudia has never done her any ill. Claudia loses her baby, and on the same night, gazes into her mother’s mirror, which shows her an image of herself young and beautiful. She determines to rid herself of Lilli. Lilli is walking near the forest when Claudia’s mute brother Gustav (Miroslav Taborski) draws a knife and chases the frightened young woman into the forest. She evades him, so he kills a pig and takes the heart to a delighted Claudia, who believes it to be Lilli’s heart. She has Gustav put the heart in a stew cooking in the kitchen, and that night as she dines with Frederick, Lilli eats the stew with great pleasure. Later, Frederick and some men search for Lilli in the rainy forest.

Lilli takes refuge from wolves in a ruined castle, where she’s confronted by seven vagabonds who’ve banned together to seek a lost gold mind. Will (Gil Bellows), scarred during the Crusades, is around Lilli’s own age and resents her presence, but the older Lars (Brian Glover) is friendlier to her. The mirror tells Claudia that Lilli is still alive, so in the forest where Claudia keeps a shrine to her dead baby, she casts a spell designed to kill her stepdaughter. Lilli, helping the men in their mine, is almost smothered in a cave-in; she’s rescued, but one of the men dies. The mirror again tells Claudia that Lilli still lives. Whirling in a black gown, Claudia conjures a wind that strikes the forest; giant trees topple all around Lilli and the men, killing Lars, but Lilli still lives. So the mirror now transforms Claudia into a bald old hag, and she goes into the forest herself. She offers an apple to Lilli, who takes one bite and falls into a trance that no one can tell from death. She’s placed in a stained-glass coffin and lowered into the ground, but the agonized Will, who’s fallen in love with her, lifts her from the coffin and a piece of apple falls from her mouth. She returns to life, and they all head for the castle. She arrives in time to interrupt Claudia in the act of slashing Frederick’s throat, then confronts Lilli in a room full of mirrors. (There’s a hint that Claudia had a part in the death of Lilli’s mother.) Lilli stabs not Claudia but her mirror image. It bursts apart, shredding and burning Claudia to death.

This bold movie out-grims the Brothers Grimm, telling their oft-told tale as a horror movie/adventure — and it works. In fact, the weakness of the movie is precisely that the story is so familiar, but the changes wrought by the writers and director keep it fresh for most of its length. It’s handsomely designed, using real locations and costumes that are never too grand for the setting. Weaver is clearly having a great time as the not-so-wicked stepmother who eventually becomes a vengeful witch. Especially for a fairy tale, the characters are complex and not necessarily always likable; even Lilli (who is never called “Snow White”) has a hard edge, and her “Prince Charming” is a bitter, scarred commoner. It’s a shame this attractive, imaginative film didn’t have any theatrical release in the United States; originality, especially in a field as well-ploughed as fairy tales, should be encouraged.

Directed by Richard Loncraine, Wimbledon follows the plight of aspiring tennis-star Peter Colt (Paul Bettany), whose bad luck seems to manifest itself just about everywhere. Professionally, Peter is near the very bottom of the world tennis ranks, and personally, he can’t find love despite his best efforts to do so. In a rare turn of events, however, Peter is chosen as a wildcard to play at Wimbledon, the tennis world’s most prestigious competition. While there, he meets American tennis ing?nue Lizzie Bradbury (Kirsten Dunst), and his confidence on the court and off improves tenfold as he falls further in love with her. Driven by his newfound luck, Peter climbs to the top of the tournament players at record speed, until he actually has a fighting chance of winning the men’s singles title — the question is whether or not his good fortune will hold out long enough for him to get the trophy.

Grieving over the death of their son, a married couple decide to take a long yachting trip for relaxation’s sake. Their journey takes a dark turn, however, when they rescue a young man from a drifting vessel. The couple soon discover that the other ship’s crew had been brutally murdered by their new passenger, and find themselves in a battle of wits against this violent sociopath. Interestingly, a previous attempt had been made at adapting the novel that inspired this film by none other than Orson Welles; footage from his unfinished version, known as The Deep, can be seen in the documentary Orson Welles: The One-Man Band.

In this sci-fi/horror scarefest, Dr. William Weir (Sam Neill) is a scientist who has designed a spacecraft called Event Horizon which will explore the outer reaches of space past the planet Neptune; the ship employs a special transport mechanism that, in effect, creates a black hole that the ship can pass through, allowing it to travel tremendous distances in a few seconds. The Event Horizon mysteriously disappears in the midst of a mission with no trace of either the ship or its crew, but it reappears in Neptune’s orbit after a seven year absence and it’s sending out a distress signal. The spaceship Lewis and Clark, and Dr. Weir, are sent to investigate; the crew — Captain Miller (Laurence Fishburne), pilot Smith (Sean Pertwee), engineer Justin (Jack Noseworthy), navigator Starck (Joely Richardson), physician D.J. (Jason Isaacs), and emergency technicians Peters (Kathleen Quinlan) and Cooper (Richard T. Jones) — are already tired and unenthusiastic about this assignment, and somewhat confused by Weir’s reports. The crew of the Lewis and Clark are convinced that Weir is not telling them something, and when they discover the Event Horizon, they find that things are not what they seem, and an evil presence has taken over the ship. Incidentally, the term “event horizon” describes the outer boundaries of a black hole.

The first of several films based on Tom Clancy’s “Jack Ryan” technothrillers, Hunt for Red October stars Alec Baldwin as eccentric CIA analyst Ryan and Sean Connery as Soviet submarine commander Marko Ramius. Ramius sets the plot in motion when he murders his political adviser, burns his orders, and steers his sub Red October towards American waters, hoping to defect. The CIA, aware that the Red October was about to embark on an evasive mission to demonstrate its ability to avoid detection and fire its nuclear missiles upon U.S. installations, believes that Ramius is insane, and that he plans to start World War III. To cover their own behinds, the Russians back up the CIA’s suspicion. Only Jack Ryan believes that Ramius’ mission is not as apocalyptic as it seems — and it is Ryan who is assigned to infiltrate the Red October to prove his theory. The sort of film that in an earlier era would have been called a “thinking man’s thriller,” The Hunt for Red October ushered in a new series of Hollywood-produced post-Cold War adventure films, including 1995’s Crimson Tide.

A destitute-but-determined young woman living in turn-of-the-century England ascends the social ranks after authoring a series of successful romantic novels in French writer/director François Ozon’s first English-language feature. Romolo Garai takes on the title role in a French and Belgian co-production co-starring Sam Neill, Charlotte Rampling, and Michael Fassbender and financed by Fidélité Films, Canal+, Celluliod Dreams, France 2, and Pan-Européenne.

Director Joe Johnston takes over the creative reins from Steven Spielberg for this third installment in the thriller franchise. Sam Neill returns as Dr. Alan Grant, a scientist who’s tricked by wealthy couple Paul and Amanda Kirby (William H. Macy and Tea Leoni) into a fly-over of Isla Sorna. The object of their sightseeing tour is one of the Costa Rican islands populated by ferocious, genetically bred dinosaurs and the “site B” setting of Jurassic Park 2: The Lost World (1997). After their plane crash-lands, it’s revealed that the Kirbys are actually seeking their teenage son, lost on the island after a paragliding accident. Trapped on Isla Sorna, Grant and his companions discover some painful truths the hard way. Among their discoveries: some of the scaly monsters possess more advanced communicative abilities than previously believed, the dreaded Tyrannosaurus Rex has a larger and more lethal competitor, and flying Pteranodons pose an even graver threat than some of their land-locked brethren. Jurassic Park III is the first in the series not to be based upon a novel by original author Michael Crichton.

A former drug-addict in her early thirties attempts to put her shady past to rest while paving the way for a brighter future in director Rowan Woods’ tale of love, trust, and redemption in modern-day Australia. Tracy Heart (Cate Blanchett) hasn’t lived her 32 years so much as she has simply survived them. Ravaged by the drug-addiction and determined to redeem herself in the eyes of her overworked single-mother Janelle (Noni Hazelhurst), Tracy makes a personal vow to open her own business and turn her life around before it’s too late and life has passed her by. Tracy’s plan is complicated, however, when three men from her past reappear with their own plans for the future. In addition to the troubling re-appearance of her ex-boyfriend Jonny (Dustin Nguyen), her criminal-minded brother Ray (Martin Henderson) seems hell-bent on making a name for himself in the underworld, and the emotional demands of troubled family friend and ex-football star Lionel Dawson (Hugo Weaving) have left the emotionally vulnerable Tracy shaken and confused. When Tracy’s modest dreams of a happy life catch the attention of feared criminal kingpin Bradley “The Jockey” Thompson (Sam Neill), she is forced to place her fragile trust in the hands of her skeptical mother and take one last trip into the past to confront her greatest fear.