Bovie Movie

Hondo is so “perfect” a John Ford western that many people assume it was directed by John Ford–or at the very least, Andrew McLaglen. Actually the director was suspense expert John Farrow, who worked with the “Duke” only twice in his career (the second film was an oddball war drama, The Sea Chase [55]). In Hondo, John Wayne plays a hard-bitten cavalry scout who is humanized by frontierswoman Geraldine Page and her young son (Lee Aaker, star of TV’s Rin Tin Tin). Try as he might, Wayne can’t convince Page to move off her land in anticipation of an Apache attack. He leaves her ranch, only to be ambushed by desperado Leo Gordon–who happens to be Page’s long-absent husband. Having killed Gordon, Hondo returns to the ranch to protect Page from the Indians, and to rekindle the woman’s hesitant love for him. The climactic attack sequence is enhanced by Hondo’s 3-D photography, one of the few truly effective utilizations of this much-maligned process. Long unavailable thanks to the labyrinthine legal tangles of the John Wayne estate, Hondo was finally released to videotape in the early 1990s.

A suburban home has become physically animated by a vengeful human soul looking to stir up trouble from beyond the grave, and it’s up to three adventurous kids from the neighborhood to do battle with the structural golem in this comically frightful tale, directed by Gil Kenan and featuring the voices of Steve Buscemi, Nick Cannon, Maggie Gyllenhaal, and Kevin James. DJ Harvard (voice of Mitchel Musso) lives directly across the street from a most unusual house. A malevolent entity that longs to feed on the energy of the living, the once peaceful house that looms ominously outside of DJ’s bedroom window would like nothing more than the chance to feast on the children of the neighborhood. As Halloween begins to draw near and the children of the neighborhood prepare for another long night of trick-or-treating, it appears as if it may be the house that is in for the biggest treat of all. Now, with the adults turning a deaf ear to DJ’s strange findings, it’s up to the brave young boy and his faithful friends Chowder (voice of Sam Lerner) and Jenny (Spencer Locke) to break through the barrier of the supernatural and defeat the powers of darkness before the house grows too powerful to fight.

The first American theatrically released 3-D movie from a major studio since 1991’s Freddy’s Dead: The Final Nightmare, Spy Kids 3-D: Game Over is the third entry in three years in Robert Rodriguez’s family-oriented action-adventure series. Along with the four members of the Cortez family, played by Antonio Banderas, Carla Gugino, Alexa Vega, and Daryl Sabara, most of the characters from the first two films have returned, including Fegan Floop (Alan Cumming), Romero (Steve Buscemi), Machete (Danny Trejo), Dinky Winks (Bill Paxton), and Donnagon (Mike Judge). This time around, Carmen (Vega) is kidnapped by the evil Toymaker (Sylvester Stallone) and imprisoned inside a virtual-reality game. It’s then up to Juni (Sabara) to venture into the game and save his sister from the villain’s clutches. The film’s three-dimensional segments take place inside the game. Also starring Salma Hayek, Spy Kids 3-D: Game Over is actually the first of two 2003 films directed by Rodriguez that complete a trilogy, the other being Once Upon a Time in Mexico, the third installment in the El Mariachi saga.

This simplified (but lavish) remake of the 1933 melodrama The Mystery of the Wax Museum was the most financially successful 3-D production of the 1950s. In his first full-fledged “horror” role, Vincent Price plays Prof. Henry Jarrod, the owner of a wax museum, whose partner, Matthew Burke (Roy Roberts), intends to burn the place down for the insurance money. When Jarrod tries to prevent Burke from torching the museum, he himself is trapped in the conflagration. Years pass: though now confined to a wheelchair, Jarrod manages to open up a new museum in New York, boasting the most incredibly lifelike wax statues ever seen. At the same time, a masked prowler has been stalking the city, murdering people and then stealing their bodies from the mortuary. One of the victims is Jarrod’s old nemesis Burke; another is Cathy Gray (Carolyn Jones), the roommate of art student Sue Allen (Phyllis Kirk). On a visit to the wax museum, Sue can’t help but notice that the wax likeness of Joan of Arc is a dead ringer for her deceased friend Cathy — while the courtly Jarrod declares joyously that Sue is the living image of Marie Antoinette. Guess where this is going to wind up? Frank Lovejoy and Paul Picerni co-star as the nominal heroes, while Charles Bronson — still billed as Charles Buchinsky — is a menacing presence as Jarrod’s deaf-mute chief sculptor (appropriately named “Igor”). No opportunity to show off the 3-D process is wasted during House of Wax; the most memorable stereoscopic moments are provided by garrulous “paddle-ball man” Reggie Rymal. Ironically, Andre De Toth, the film’s director, had only one good eye, and had to constantly ask his cast and crew if the various 3-D effects had come off properly.