Bovie Movie

The sophomore film from former music video and commercial director Michael Bay, this fast-paced action yarn featured rapid-fire editing, a cutting-edge rock soundtrack and liberal use of shots awash in a haze of burnished hues, all trademarks of producers Don Simpson and Jerry Bruckheimer. Nicolas Cage stars as Stanley Goodspeed, an FBI chemical weapons expert handed a unique assignment. Francis X. Hummel (Ed Harris), an insane Marine Corps general, has taken 81 tourists hostage on the abandoned island prison of Alcatraz. He and his men are threatening to bomb San Francisco with deadly gas unless $100 million is paid in war reparations to the families of servicemen killed in covert operations. Goodspeed is teamed with former British spy John Patrick Mason (Sean Connery), the only man ever to escape “The Rock,” as well as a Navy SEAL team. When their military escorts are ambushed, it’s up to odd couple Goodspeed and Mason to break into Alcatraz and stop Hummel. The Rock was the last film produced by Simpson, who died of a drug overdose before the film’s release. Solo, his partner Bruckheimer continued making the sort of glossy, frenetic films for which the duo was famed.

Directed by the prolific Rob Zombie, The Devil’s Rejects is a sequel of sorts to 2003’s House of 1000 Corpses, and picks up several weeks after House left off. This time, the clash revolves around the tribe of violent lunatics and decidedly valueless family members of the original film, who have come to be known as the “Devil’s Rejects.” After learning of the extended family’s horrific attacks, a SWAT team is sent to take them into custody; all but their crazed Mama escape. In addition to creating a full-fledged media circus, this sends the sociopath housemates on the run, and they initiate a deadly road trip. Meanwhile, Mama has to deal with a violent, vengeful sheriff (William Forsythe). The Devil’s Rejects features Bill Moseley, Sid Haig, Sheri Moon, Michael Berryman, and Ken Foree, among other cult horror regulars.

This independent production find New York cab driver Glenn Atkins (Fred Dennis) finding a valuable piece of paper in his vehicle at the end of the day. The paper is a map that leads to $400,000 of stolen money hidden near the Hudson River. Glenn makes love to his wife, a fellow employee and the wife of the man who planned the robbery of the Florida bank. The longer he holds on to the map, the more danger he encounters in this drama of a man who risks his life for the hidden money.

Jon Avnet directs Al Pacino in the thriller 88 Minutes. Pacino plays a university professor who occasionally assists the FBI in matters of forensic psychiatry. As the film opens, the professor learns that someone plans to kill him in 88 minutes. As with the like-minded thriller D.O.A. (both the original and the remake), the protagonist must use his skills in order to track down who has hatched this evil plot and hopefully prevent his own demise.

A man struggling to come to terms with the sins of his father makes the terrible discovery that his own son has fallen into a life of crime in a drama based on a true story. Vincent LaMarca (Robert DeNiro) is a dedicated and well-respected New York City police detective who has gone to great lengths to distance himself from his past; four decades earlier, Vincent’s father Angelo killed a young child, and since then Vincent has carried emotional scars from this incident that he refuses to show to the world. Vincent lives alone in a small apartment building, though he has nurtured a close if tentative relationship with his downstairs neighbor, Michelle (Frances McDormand). One day, Vincent and his partner, Reg Duffy (George Dzundza), are assigned to investigate a murder when the body of a young man is found dead in a dumpster. It turns out the body was that of a drug dealer, and the dealer’s partner in crime, Spyder (William Forsythe), believes the killer was one of his regular customers — a junkie would-be musician who calls himself Snake (Brian Tarantina). City By the Sea was adapted from a piece by journalist Mike McAlary which first appeared in Esquire magazine; the cast also includes Eliza Dushku and Anson Mount.

Warren Beatty directed and starred in this big-budget action comedy featuring Chester Gould’s square-jawed, two-dimensional comic strip detective. Ruthless gangster Big Boy Caprice (Al Pacino) touches off a gang war against underworld boss Lips Manlis (Paul Sorvino), with Big Boy and his minions rubbing out enough of Manlis’s goons (along with Manlis himself) to take over his nightclub, and a healthy percentage of the city’s criminal activities in the process. Caprice also gains proprietary rights to Manlis’s girlfriend, nightclub chanteuse Breathless Mahoney (Madonna). Big Boy’s next move to is unite the rest of the city’s crooks under his command; this wave of corruption attracts the attention of lawman Dick Tracy, who is determined to smash Caprice’s criminal network once and for all. As Tracy plots to put Big Boy behind bars where he belongs, Breathless uses her considerable charms in an attempt to sway Tracy from the path of righteousness; this causes no small amount of anxiety for Tracy’s long-suffering female companion, Tess Trueheart (Glenne Headly), and the street-smart kid (Charlie Korsmo) they’ve been keeping an eye on. The various bad guys, heavily made up to resemble Gould’s cartoon characters (though Beatty is not made up to resemble Tracy), include Dustin Hoffman, James Caan, R.G. Armstrong, and William Forsythe.

Though some viewers might be put off by its length, graphic violence, and absence of likable characters, Sergio Leone’s final film is also a cinematic masterpiece. Spanning four decades, the film tells the story of David “Noodles” Aaronson (Robert De Niro) and his Jewish pals, chronicling their childhoods on New York’s Lower East Side in the 1920s, through their gangster careers in the 1930s, and culminating in Noodles’ 1968 return to New York from self-imposed exile, at which time he learns the truth about the fate of his friends and again confronts the nightmare of his past. The acting, the re-creation of the time period, the cinematography, and the music are all superb. However, even more important is Leone’s ability to make the film work on so many different levels: it’s both a criticism of gangster-film mythology and a continuation of the director’s exploration of the issues of time and history. Strange as it may seem, the violence and gore in the first half of the film turn into a sad elegy about wasted lives and lost love. The film’s strengths emerge only in its full 229-minute version — the 139-minute and other edited versions don’t make nearly the same impact.