Bovie Movie

Big-budget special effects, swiftly paced action, and a distinct feminist subtext from writer/director James Cameron turned what should have been a by-the-numbers sci-fi sequel into both a blockbuster and a seven-time Oscar nominee. Sigourney Weaver returns as Ellen Ripley, the last surviving crew member of a corporate spaceship destroyed after an attack by a vicious, virtually unbeatable alien life form. Adrift in space for half a century, Ripley grapples with depression until she’s informed by her company’s representative, Carter Burke (Paul Reiser) that the planet where her crew discovered the alien has since been settled by colonists. Contact with the colony has suddenly been lost, and a detachment of colonial marines is being sent to investigate. Invited along as an advisor, Ripley predicts disaster, and sure enough, the aliens have infested the colony, leaving a sole survivor, the young girl Newt (Carrie Henn). With the soldiers picked off one by one, a final all-female showdown brews between the alien queen and Ripley, who’s become a surrogate mother to Newt. Several future stars made early career appearances in Aliens (1986), including Lance Henriksen, Bill Paxton, and Reiser.

The fourth film in the Alien series, directed by Jean-Pierre Jeunet (Delicatessen, The City of Lost Children) at a cost of 70 million dollars, takes place aboard an immense ship, the Auriga, where General Perez (Dan Hedaya) heads a staff of seven science officers and 42 enlisted, all employed by United Systems Military (replacing the Company of the earlier films). The time is 200 years after the events of Alien 3. Scientists researching the aliens need hosts, and they rely on space mercenaries who make spacecraft raids to acquire bodies. The research requires an Alien Queen specimen, so Ellen Ripley (Sigourney Weaver) has been cloned from preserved blood samples. The scientific team then removes the baby Alien Queen from Ripley’s chest. Since the Ripley clone has alien DNA mixed into her genetic structure, she is not totally human. Later, a commercial freighter, the Betty, arrives with a crew of mercenaries — Elgyn (Michael Wincott), pilot Hillard (Kim Flowers), paralyzed mechanic Vriess (Dominique Pinon), space jock Johner (Ron Perlman), and junior mechanic Annalee Call (Winona Ryder) — who deliver a load of human hosts with alien eggs. Problems begin when the mercenaries take over the Auriga, and aliens escape to massacre humans. As the aliens attack, Ripley and the mercenaries try to reach the Betty in order to escape. Cinematography by Darius Khondji features the same ENR process he used on Seven, adding silver to the printing process to heighten contrasts, making the dark colors richer. An electric-blue tint was employed during the underwater firefight between the mercenaries and the aliens. For the more physical aspects of her role, Ryder got in shape with six hours of daily workouts. Although all previous films in the series were shot at London’s Pinewood Studios, filming of Alien Resurrection took place West Los Angeles soundstages with special effects in California and Paris.

Old Smokey develops a bad temper in this volcanic disaster spectacle. Harry Dalton (Pierce Brosnan) is a volcano expert whose interest became more than academic after he lost the woman he loved in a volcanic emergency. When he is sent to investigate unusual seismic activity in the quiet Pacific Northwest community of Dante’s Peak, he discovers people boiled to death in the local hot spring and plant and animal life dying or displaying unusual illnesses near the city’s supposedly dormant volcano. Harry becomes convinced that a major volcanic catastrophe is in the cards. Rachel Wando (Linda Hamilton), the town’s mayor, is a single mother who also runs the local cafe, and now that Dante’s Peak has been named one of the most desirable small towns in America, tourists have been flocking to the diner and other local businesses. While concerned with the safety of her community, Rachel takes a cynical view of Harry’s warnings about the volcano; she has no desire to alarm either the town’s residents or the wealthy visitors lining the city’s pockets. Nevertheless, Harry tries to convince Rachel of the potential danger, as they begin to develop feelings for each other that are not strictly professional. The summer of 1997 was a big season for killer volcanoes at the movies, as Dante’s Peak and Volcano opened within a few months of each other.

Acclaimed director David Fincher’s promising career was lucky to survive this astonishingly wrong-headed, almost universally despised second sequel to Alien (1979). The film careens into oblivion virtually from the beginning, as Lt. Ellen Ripley (Sigourney Weaver) is the only survivor of a crash-landing on a hellish, God-forsaken prison planet. Not only does the crash kill little Newt, completely obviating the entire point of the superior Aliens (1986), but Fincher then compounds his betrayal of that film’s fans by having Ripley attend the girl’s gruesome autopsy and barely bat an eye as the child’s chest is bloodily ripped open with a steel bonesaw. Things just go downhill from there, as the rather unthreatening rapists and murderers harass Ripley and curse a great deal before being torn apart by large fans, having their heads crushed by the unconvincing CGI alien, and finally volunteering to be murdered by the beast rather than letting the evil Company get hold of it. Fincher does the best he can with a terrible script, and there are some nice supporting turns by Charles S. Dutton, Charles Dance, and Brian Glover, but nothing could redeem the film’s first 15 minutes. By the time Ripley takes a suicidal swan-dive into a vat of molten lead, cradling a baby alien as it explodes from her chest, many viewers will not know whether to reach for the remote control or a warm bath and a razorblade. A loathsome experience by any standard, Alien 3 still made enough money for Weaver to return as a Ripley clone in Alien Resurrection (1997).

Hong Kong action genre craftsman Tsui Hark directed this martial arts tale, his second collaboration with actor Jean-Claude Van Damme after Double Team (1997). Van Damme stars as Marcus Ray, a Hong Kong fashion designer who specializes in “knock-offs,” cheaply produced jeans and sneakers meant to look like major-label merchandise. With his new partner Tommy Hendricks (Rob Schneider), Marcus hopes to go legit and put his shady past behind him, but Tommy is really an undercover CIA agent investigating the smuggling of mini-bombs in Marcus’ products. An unwitting pawn in a scheme concocted by the KGB and Tommy’s CIA superior Johanson (Paul Sorvino), Marcus must clear his name and save his company. His quest to do so becomes even more complicated when local authorities link him to a murder and a vice-president, Karen (Lela Rochon), arrives from Marcus’ parent company to investigate discrepancies in his bookkeeping. Knock Off is based on a script by Steven E. de Souza, author of 48 Hrs. (1982) and Die Hard (1988).

“In space, no one can hear you scream.” A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades a spacecraft in Ridley Scott’s sci-fi horror classic. On the way home from a mission for the Company, the Nostromo’s crew is woken up from hibernation by the ship’s Mother computer to answer a distress signal from a nearby planet. Capt. Dallas’ (Tom Skerritt) rescue team discovers a bizarre pod field, but things get even stranger when a face-hugging creature bursts out of a pod and attaches itself to Kane (John Hurt). Over the objections of Ripley (Sigourney Weaver), science officer Ash (Ian Holm) lets Kane back on the ship. The acid-blooded incubus detaches itself from an apparently recovered Kane, but an alien erupts from Kane’s stomach and escapes. The alien starts stalking the humans, pitting Dallas and his crew (and cat) against a malevolent killing machine that also has a protector in the nefarious Company.

When the notoriously evil Chucky doll and his lover gave birth, they had no idea that their spawn would grow up to be a peace-loving kind of guy; however, that’s exactly what Glen turns out to be: a gentle soul who is horrified at what he has been told about his family. After hearing the news of a film being made about his parents’ murderous legacy, Glen sets off for Hollywood, where he promptly brings Chucky and Tiffany back to life. Far from diving into doting fatherhood, Chucky is seriously disappointed in his son’s lack of inherent evil and tries his best to impart his vast knowledge of all things malevolent before Glen becomes some sort of do-gooder. Elsewhere, Tiffany finds that she will be played by Jennifer Tilly in their movie and doesn’t hesitate to let her son in on their family’s most cherished tradition — killing sprees. Directed by Don Mancini, Seed of Chucky features Brad Dourif returning as the voice of Chucky, while Tilly plays both herself and Tiffany. The offspring of the evil pair, Glen, is voiced by Lord of the Rings star Billy Boyd. Cult film director John Waters also makes an appearance, as does hip-hop artist Redman.

This low-budget science-fiction drama, winner of a 1997 Toronto Film Festival prize for “Best Canadian First Feature,” depicts the plight of a group of people clad in prison-style uniforms and trapped in futuristic cube-like metal cells. Their memories are hazy; no one can recall how they got there. Alderson (Julian Richings) awakens in a cell, seeks an exit, and arrives in an adjacent cube where he’s sliced and diced. Former cop Quentin (Maurice Dean-Wint) becomes the group leader, and he’s challenged by conspiracy theorist Dr. Holloway (Nicky Guadagni). Government worker Worth (David Hewlett) remembers a past government link to the project. A discovery that the cubes have numerical codes suggests study by math-student Leaven (Nicole deBoer) while former thief Rennes (Wayne Robson) knows some escape tricks. However, the extreme behavior of Kazan (Andrew Miller) becomes a threat to their survival. The film was also shown at the 1997 Vancouver Film Festival.

Jigsaw (Tobin Bell) is back, and this time he’s concocted his deadliest set of traps yet in this gore-soaked sequel written by James Wan and Leigh Whannell, and directed by Saw II’s Darren Lynn Bousman. Picking up directly where its predecessor left off, Saw III finds Jigsaw near death and fighting to stay alive for one final game. Determined to show his prot?g?, Amanda (Shawnee Smith), what it truly means to carry out his deadly game, the ailing Jigsaw instructs his apprentice to kidnap unsuspecting doctor Lynn Denlon (Bahar Soomekh) in order to ensure that he survives long enough to see how his latest victim Jeff (Angus MacFadyen) fares when faced with the prospect of imminent death. As Lynn and Jeff both struggle to beat the clock and carry out their tasks before Jigsaw draws his final breath, a much larger plan begins to emerge that shows just how cunning the legendary killer can truly be.

Writer/director Ernie Barbarash helms this prequel to the sci-fi thriller Cube, with events that unfold some time prior to those in first picture. Here, another group of prisoners navigate the treacherous confines of their futuristic trappings. Each step is potentially the last as the deadly last traps hidden in the sparse rooms find the numbers of the unwilling prisoners quickly thinning. Only when they can figure out the mysteries of their constantly changing prison will the surviving inmates have any hope for escape, and even then there is no guarantee of freedom — much less survival. As the cube workers who monitor the prisoners progress bear witness to their increasingly grim bid for survival, a sudden sting of remorse finds one of the employees empathizing with the victims and plotting to assist them in their unlikely escape.