Bovie Movie

Decked out in powdered wig and pasty “dandy” makeup, Richard Chamberlain stars as legendary Venetian lover Giovanni Casanova (1725-1798) in this made-for-television biopic. The teleplay by George Macdonald Fraser (of “Flashman” fame) follows Casanova as his reputation for being catnip to women builds throughout the 18th century. His sexual exploits cost him several important social and professional posts, and eventually land him in a Venice prison on a morals charge. Casanova’s escape attempt provides a strong second act for this 3-hour effort, which also offers an amusing “con job” practiced by Casanova on a willing countess (Faye Dunaway). Frank Finlay co-stars as a nobleman who conducts a decades-long feud with our rakish hero. Filmed in Spain and Italy, Casanova debuted on March 1, 1987.

Writer and director Woody Allen returns to the Manhattan of the past with this romantic comedy set in 1940, the era of fedora hats and gumshoe detectives. Allen stars as C.W. Briggs, an insurance investigator whose razor-sharp instincts have just led to the successful conclusion of another case, the recovery of a stolen Picasso. While he’s a valued employee, Briggs is under fire from efficiency expert Betty Ann Fitzgerald (Helen Hunt) for his antiquated attitudes and refusal to accept modern crime-solving techniques such as fingerprinting. C.W. claims he puts himself directly into the criminal mind, a skill that will do him no good when he and Betty Ann are hypnotized at a Rainbow Room gathering one night by the magician Volton (David Ogden Stiers). As a parlor trick to entertain their co-workers, Volton makes C.W. and Betty Ann believe they’re a couple that’s deeply in love. But the performer secretly keeps up the ruse after the party’s over, calling C.W. to whisper a magic code word and ordering the detective to rob wealthy homes with security systems that C.W. himself has designed. With no memory of his thieving activities, a frustrated C.W. can’t solve the high-profile jewel burglaries, while he and Betty Ann struggle with their odd new attraction for each other, made more complicated by the fact that Betty Ann is romantically involved with their boss (Dan Aykroyd).

The mystery of one man’s guilt or innocence literally becomes a matter of life and death in this drama. David Gale (Kevin Spacey) was the head of the philosophy department at Austin University and the author of several well-regarded books; he was also an active and visible member of Deathwatch, an anti-capital punishment activist group. One of Gale’s best friends was Constance Harraway (Laura Linney), a fellow Deathwatch activist with whom he became especially close, particularly since Gale’s wife, Sharon (Elizabeth Gast), who had taken a lover in Spain, was usually absent. One night, Gale was seduced by an attractive student from his class, Berlin (Rhona Mitra), who had too much to drink; later, the remorseful student accused Gale of rape. While Gale was eventually cleared of the charges, the negative publicity cost him his career as an educator, and with no job and no wife, Gale turned to drink. When Harraway was found raped and murdered a few years later, Gale was charged with the crime, and convicted despite the best efforts of his well-meaning but ineffectual lawyer Braxton Belyeu (Leon Rippy). Now Gale awaits execution, and less than a week before his date with the fatal injection, Gale agrees to tell his story to Bitsey Bloom (Kate Winslet), a nervy journalist from a major newsmagazine, who arrives with her assistant, Zack Stemmons (Gabriel Mann). As Bloom discusses the facts of the Harraway murder with Gale, it occurs to her that the details simply don’t add up, and soon a mysterious stranger slips evidence to her that suggests Gale has been framed — leaving Bloom and Stemmons only a few days to solve the mystery and save Gale from the executioner. The Life of David Gale was co-produced by actor Nicolas Cage, who originally commissioned the script and intended to star in the film before prior commitments led him to hand the project over to director Alan Parker.

Notoriously obsessive director Michael Mann and star Will Smith devoted nearly two years and over 100 million dollars from the coffers of Columbia Pictures and other financiers to creating this biography of boxing great Muhammad Ali, which focuses on the ten-year period of 1964-1974. In that time, the brash, motor-mouthed athlete quickly dominates his sport, meets and marries his first wife (Jada Pinkett-Smith), converts to Islam (changing his name from Cassius Clay), and defies the United States government by refusing to submit to military conscription for duty in Vietnam. His world heavyweight champion title thus stripped from him entirely for political reasons, the champ sets about to win back his crown, culminating in a legendary unification bout against George Foreman (Charles Shufford) in Zaire, dubbed the “Rumble in the Jungle.” In his travels, Ali becomes a symbol of power to disenfranchised African-Americans everywhere and meets such luminaries as Malcolm X (Mario Van Peebles), Martin Luther King Jr. (LeVar Burton) and Maya Angelou (Martha Edgerton). Ali features an all-star supporting cast that includes Jon Voight, Giancarlo Esposito, Jamie Foxx, Nona Gaye, Michael Michele, Joe Morton, Paul Rodriguez, Ron Silver, Mykelti Williamson, and Jeffrey Wright.

Roger Spottiswoode (Air America) directed this film, the 18th chapter in the 35-year-old James Bond series (excluding Casino Royale and Never Say Never Again). James Bond (Pierce Brosnan) learns billionaire media mogul Elliot Carver (Jonathan Pryce) is manipulating world events via an exclusive flow of information through his satellite system reaching all corners of the planet. With a stealth battleship sinking a British naval vessel, Carver sees that the Chinese are blamed. Crashing Carver’s party in Hamburg, Bond meets “journalist” Wai Lin (Michelle Yeoh), later revealed as a Chinese agent. In a brief tryst, Bond renews his past relationship with Carver’s wife Paris (Teri Hatcher). Carver dispatches Stamper (Gotz Otto) and other goons to cancel Bond, who eludes attackers with some of his new gadgets. In Southeast Asia, after Bond and Wai Lin scuba dive into the sunken British ship, they are captured by Stamper, handcuffed, and taken to Saigon where they make a motorcycle escape. To thwart Carver’s plans for WWIII, the two agents head for Carver’s stealth ship where a cruise missile is aimed at Beijing. Principal photography began April 1, 1997 in the new Eon Productions studio facility at Frogmore, northwest of London, and on the 007 stage at Pinewood Studios. Locations included the UK, Hamburg, Southeast Asia, Mexico, and off the Florida coast. The trademark Bond pre-title sequence was filmed in the French Pyrenees snowfields, centered around one of the few high-altitude operational airfields in Europe.

George Armitage directs this big-screen adaptation of Elmore Leonard’s The Big Bounce. Jack Ryan (Owen Wilson) is an occasional thief who tends to a judge (Morgan Freeman). A woman involved with Ray Ritchie (Gary Sinese), a real estate developer of questionable ethics, seduces Jack. Ritchie and the judge are old enemies, complicating Jack’s moral dilemma when the girls asks Jack to help her double-cross Ritchie. The book was adapted once before with Ryan O’Neal in the Owen Wilson role.

This lavish big-budget epic was the pinnacle of a uniquely Italian subgenre, the historical hardcore gore/porn extravaganza. The star-studded cast, perhaps lured by the high-profile involvement of producer Bob Guccione and screenwriter Gore Vidal, includes such luminaries as John Gielgud, Peter O’Toole, and Helen Mirren. Director Tinto Brass, whose similar treatment of Nazi Germany in Salon Kitty won him the job, did his best with the mammoth enterprise, but numerous production problems and re-edits took their toll on the finished product. When Caligula works best, it works because of Malcolm McDowell, whose crazed portrayal of the title Emperor is the embodiment of villainous corruption. McDowell raises his performance level to match the gaudy spectacle around him, which led to charges of overacting, but there are moments when he is absolutely riveting. Some of the cast doesn’t fare as well, as O’Toole makes a particularly unsubtle Tiberius. The sex is graphic and steamy, particularly a feverish lesbian interlude between Penthouse Pets Lori Wagner and Marjorie Thorsen (using the pseudonym “Anneka di Lorenzo”), and the various carnival freaks used as atmosphere imbue the film with a grotesque, Fellini-like opulence. There are many memorable scenes and a magnificent score by Paul Clemente, but the heady brew of historical epic, hardcore sex, and gory violence proved overwhelming to many viewers. Still, Gore Vidal’s script is surprisingly accurate, and manages to be entertainingly vulgar while bringing a rather loathsome slice of human history to vivid life, warts and all. The more explicit scenes were directed by Bob Guccione and Giancarlo Lui, causing both Vidal and Brass to remove their names from the credits.

Three brothers who would argue that crime does pay have a hard time getting their fair share of the proceeds in this witty action thriller from Australia. Dale Twentyman (Guy Pearce) and his brothers, Mal (Damien Richardson) and Shane (Joel Edgerton), are serving time together in prison for robbery. Dale is the brains and the cool head of the group, Mal is the eager-to-please nice guy, and Shane is something of a loose cannon. Dale and his siblings are eager to get out of jail, and their lawyer, Frank Malone (Robert Taylor), has pulled a deal that could pare some time off their sentences, though the arrangement is strictly off the books. Mick Kelly (Vince Colosimo) and Jack O’Riordan (Paul Sonkkila) are a pair of crooked police detectives who have arranged with Malone to give the Twentyman brothers day passes from jail in order to pull bank robberies, with the siblings’ share held in escrow until they’re released. Dale thinks something a bit off in this operation, and his suspicions are confirmed when Malone tells the brothers after they’re granted their early release that they won’t get their money until they pull one last job — an ambitious robbery at a Melbourne race track on the day of the nation’s biggest horse race. Dale is convinced he smells a rat — especially since he has good reason to suspect that Malone is having an affair with his wife, Carol (Rachel Griffiths). The Hard Word marked the directorial debut for writer/director Scott Roberts.

A U.S. Army war correspondent is drawn into a deadly mystery in post-war Berlin as he seeks out his wartime mistress in this adaptation of author Joseph Kanon’s best-selling novel. The war is over, and Jake Geismar (George Clooney) is an American journalist assigned the task of covering the peace in Berlin — but he was once lovers with a mysterious woman named Lena Brandt (Cate Blanchett). Lena is a lady with many secrets to hide, however, and now that the fighting has ceased, she has every intention of burying her sins and escaping her dark past. As Jake searches for Lena in war-torn Berlin with the assistance of American Army motor pool driver Tully (Tobey Maguire), the complex web of deceit woven by the desperate woman soon leads all three into the black market, which could prove either the ticket to Lena’s ultimate escape or the downfall of both her and her pursuers. Filmed entirely in the style of such Hollywood classics as Casablanca, The Good German was shot by director Steven Soderbergh (under the pseudonym Peter Andrews) using 1940s era lenses, sound-recording techniques, and a decidedly less-mobile camera.

Oscar-nominated filmmaker Todd Field teams with novelist Tom Perrotta to adapt Perrotta’s acclaimed novel concerning the suburban malaise experienced by a handful of small-town individuals whose intersecting lives converge in a variety of surprising, and sometimes ominous, ways. Kate Winslet, Jennifer Connelly, and Patrick Wilson star in a cinematic adaptation that doesn’t aim so much to simply reproduce the book for the screen as it does to re-imagine the written word by exploring new possibilities for the characters and situations originally presented in Perrotta’s 2004 best-seller. Sarah (Winslet) is a suburban outsider who, unlike the other playground moms, isn’t afraid to approach the dreamy but long-absent father whom smitten housewives have taken to calling the “Prom King.” Long days at the local community pool with their respective children soon find Sarah becoming acquainted with local husband and father Brad (Patrick Wilson) — who seems to share in her seething discontentment with life in their quaint commuter town. An English literature major who never envisioned a fate as a soccer mom, Sarah has a growing dissatisfaction with her successful husband (Gregg Edelman) that parallels Brad’s increasing frustration with his inability to pass the bar and connect with his wife, Kathy (Jennifer Connelly), a successful documentary filmmaker. It’s not long before the dejected pair is meeting for a series of illicit afternoon trysts as their unsuspecting spouses work and their children lie quietly napping. Meanwhile, after the community is riled by the return of a convicted sex offender (Jackie Earle Haley) who leaves the concerned parents scrambling to protect their young ones, an attempt made by Sarah and Brad to legitimize their clandestine relationship by dining together with their respective spouses begins to awaken Kathy’s suspicions about the fidelity of her husband.