Bovie Movie

The futuristic tale unfolds in a Great Britain that’s a fascist state. A freedom fighter known as V (Weaving) uses terrorist tactics to fight the oppressive society. He rescues a young woman (Portman) from the secret police, and she becomes his unlikely ally.

A horror film told in three parts from three perspectives, in which a mysterious transmission which invades every cell phone, radio and TV, turning people into killers.

Director George A. Romero’s epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 — ten years after the first films’ release — Dawn’s story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city — seeking warm human flesh for food — the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film’s most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station’s floor manager, Stephen’s girlfriend Frances (Gaylen Ross). Together they steal the station’s helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer’s paradise… but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero’s excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: “It’s some kind of instinct,” Stephen comments, observing the zombies’ attraction to the mall; “This was an important place in their lives.” Despite the glimmer of hope offered by the film’s closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn’s outlook for humanity: “We’re not gonna make it, are we?” Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a “Director’s Cut” with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed.

In a futuristic Britain, a gang of teenagers go on the rampage every night, beating and raping helpless victims. After one of the boys quells an uprising in the gang, they knock him out and leave him for the police to find. He agrees to try “aversion therapy” to shorten his jail sentence. When he is eventually let out, he hates violence, but the rest of his gang members are still after him.

Y Tu Mam? Tambi?n and Harry Potter and the Prisoner of Azkaban director Alfonso Cuar?n returns to the helm to tell this futuristic tale in which society is without hope since humankind lost its ability to procreate. The year is 2027, and women can no longer give birth. The youngest inhabitant of the planet has just died at the age of 18, and all hope for humanity has been lost. As civilization descends into chaos, a dying world finds one last chance for survival in the form of a woman who has become inexplicably pregnant. Now, as warring nationalistic sects clash and British leaders try to maintain their totalitarian stronghold on the country, a disillusioned bureaucrat (Clive Owen) is brought back into the fold of activism by his guerrilla ex-wife (Julianne Moore). Reluctantly, he takes on the daunting task of escorting Kee (Claire-Hope Ashitey), the refugee who represents humankind’s last hope for survival, out of harm’s way and into the care of a mysterious organization known as The Human Project. Chiwetel Ejiofor, Charlie Hunnam, and Michael Caine co-star in this adaptation of author P.D. James’s gripping 1992 novel.

It is a couple of years in the future… The highways of Australia are ruled by violent gangs who have turned the highways into a battleground as they loot gasoline and terrorize the innocent. Max Rockatansky is a policeman who had everything… Until, a murderous motorcycle gang led by the evil Toecutter burns his partner Jim Goose to death and murders his wife and son, after Max killed their leader “The Knight Rider”. Loosing his rocker, Max decides to take the law into his own hands as he sets out to get his revenge on the motorcycle gang and become the road warrior known as “Mad Max”.

Kevin Costner directed and stars in this adaptation of David Brin’s science fiction novel The Postman (1985), first published in 1982 issues of Isaac Asimov’s Science Fiction Magazine. Costner’s return to directing after his Oscar-winning Dances With Wolves(1990) is a futuristic epic depicting the aftermath of a destructive war. Some 16 years from the present day, America has been turned into a wasteland of separated communities minus a national government. A vagabond (Costner) who travels through these little villages performing Shakespeare is captured by marauders known as the Holnists, and thrown into a totalitarian labor camp run by a Hitler-like dictator, General Bethlehem (Will Patton).

Making an escape, the drifter, known to some as “Shakespeare,” stumbles across an abandoned U.S. Postal Service jeep and dons the dead postal-worker’s uniform. With a scheme simply to get food, he sets out to deliver 15-year-old mail, proclaiming himself The Postman, and discovers that residents accept his lies about a restored United States government because they desperately need something to believe in. This hope leads to the thought that perhaps the United States of America could indeed be restored, so an unusually inspired young man, Ford (Laren Tate) is deputized with the “Neither snow, nor rain…” oath to become the country’s second Postman. At the town of Pineview, the attractive Abby (Olivia Williams), who has an impotent husband, asks The Postman to impregnate her. After Abby’s husband is killed during a raid by Bethlehem, she is taken prisoner but injures Bethlehem and makes an escape. Pregnant, she spends the winter nursing the wounded Postman in a snowbound cabin. When spring comes, they emerge to discover that Ford has organized an entire squad of mail deliverers who regard The Postman as a mythical hero. The Postman reluctantly accepts his messianic role in the rebirth of the country, even as it becomes clear that the rebel force must ultimately battle and defeat the Holnist army in order to regain the American Dream.

Kaneda is a bike gang leader whose close friend Tetsuo gets involved in a government secret project known as Akira. On his way to save Tetsuo, Kaneda runs into a group of anti-government activists, greedy politicians, irresponsible scientists and a powerful military leader. The confrontation sparks off Tetsuo’s supernatural power leading to bloody death, a coup attempt and the final battle in Tokyo Olympiad where Akira’s secrets were buried 30 years ago.

The director (Rob Cohen) and star (Vin Diesel) of the previous summer’s hit The Fast and the Furious (2001) are reunited for this spy thriller billed as a next-generation James Bond adventure. Diesel stars as Xander Cage, a nihilist extreme sports enthusiast nicknamed “Triple X” because of a large tattoo covering his back and neck. Cage’s illegal stunts and poor attitude (he’s given to spouting dialogue such as, “Have you ever been punched in the face for talking too much?”) land him in jail, where he’s recruited/blackmailed into government service by the National Security Agency’s Augustus Gibbons, who likes Cage for his skills and expendability. The new secret agent is assigned to infiltrate a Russian crime ring called Anarchy 99, whose access to biochemical weaponry is making the United States extremely nervous. With the help of some high-tech gadgets from weapons master Toby Lee Shavers (Michael Roof), Cage is able to make his way into Anarchy 99, where he targets the group’s leader Yorgi (Marton Csokas) and falls for the organization’s second-in-command, Yelena (Asia Argento). XXX (2002) is the first in a hoped-for franchise of sequels for the film’s producer, Revolution Studios.

In this darkly comic drama, Edward Norton stars as a depressed young man (named in the credits only as “Narrator”) who has become a small cog in the world of big business. He doesn’t like his work and gets no sense of reward from it, attempting instead to drown his sorrows by putting together the “perfect” apartment. He can’t sleep and feels alienated from the world at large; he’s become so desperate to relate to others that he’s taken to visiting support groups for patients with terminal diseases so that he’ll have people to talk to. One day on a business flight, he discovers Tyler Durden (Brad Pitt), a charming iconoclast who sells soap. Tyler doesn’t put much stock in the materialistic world, and he believes that one can learn a great deal through pain, misfortune, and chaos. Tyler cheerfully challenges his new friend to a fight. Our Narrator finds that bare-knuckle brawling makes him feel more alive than he has in years, and soon the two become friends and roommates, meeting informally to fight once a week. As more men join in, the “fight club” becomes an underground sensation, even though it’s a closely guarded secret among the participants. (First rule: Don’t talk about fight club. Second rule: Don’t talk about fight club.) But as our Narrator and Tyler bond through violence, a strange situation becomes more complicated when Tyler becomes involved with Marla (Helena Bonham Carter), whom our Narrator became infatuated with when they were both crashing the support-group circuit. Based on the novel by Chuck Palahniuk, Fight Club was directed by David Fincher, who previously directed Pitt in the thriller Seven.