Bovie Movie

Driven by an extravagant, tour-de-force performance by Al Pacino, Scent of a Woman is the story of Frank Slade (Pacino), a blind, retired army colonel who hires Charlie Simms (Chris O’Donnell), a poor college student on the verge of expulsion, to take care of him over Thanksgiving weekend. At the beginning of the weekend, Frank takes Charlie to New York, where he reveals to the student that he intends to visit his family, have a few terrific meals, sleep with a beautiful woman and, finally, commit suicide. The film follows the mis-matched pair over the course of the weekend, as they learn about life through their series of adventures. Though the story is a little contrived and predictable, it pulls all the right strings, thanks to O’Donnell’s sympathetic supporting role and Pacino’s powerful lead performance, for which he won his first Academy Award. Scent of a Woman is based on the 1975 Italian film Profumo Di Donna.

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

Jean-Claude Van Damme and Dolph Lundgren play archenemies from beyond the grave in this action film. During the Vietnam War, Luc (Van Damme), hoping to be sent home, comes upon blood-crazy Scott (Lundgren), who is starting a one-man genocide program. When Luc tries to stop Scott’s carnage, Scott fights back and they end up killing each other. But now the government gets involved, cryogenically freezing their corpses and using their bodies in a secret government project call “UniSols” –turning the dead men into android fighting machines. Luc and Scott are now metallic fighting members of a robot SWAT team. But Luc begin to have flashbacks to the final moments of his life in Vietnam, as does Scott, who recalls that one of his final thoughts was to kill Luc. Meanwhile, a snoopy reporter named Veronica (Ally Walker) stumbles upon the secret of the UniSols, and soon Luc is trying to save both himself and Veronica from the wrath of Scott, who is trying to kill them both. All of the action culminates in a wild chase between a prison bus and a UniSols van, racing around hairpin turns on desert precipices.

Based on J.G. Ballard’s autobiographical novel, Empire of the Sun stars Christian Bale as a spoiled young British boy, living with his wealthy family in pre-World War II Shanghai. During the Japanese invasion, Bale is separated from his parents. With the help of soldier-of-fortune John Malkovich, Bale learns to survive without a retinue of servants at his beck and call. By the time Malkovich and Bale are tossed into a Japanese prison camp, the boy has picked up enough street-smarts and developed enough intestinal fortitude to regard his imprisonment as an exciting adventure. The story ends during the 1945 liberation: on the verge of manhood, the 13-year-old Bale will never again be the pampered, privileged brat whom we met in the early scenes.

The disappearance of a military leader and the death of four of his men leads two investigators to wade through a morass of deceptions and half-truths in search of the facts in this thriller. Sgt. Nathan West (Samuel L. Jackson) is the leader of an elite team of U.S. Army Special Forces operatives known as the Army Rangers; West is known as a highly effective officer, but one with a short temper and aggressive attitude who is not well liked by his soldiers. During a seemingly routine training exercise in Panama, a hurricane sweeps in, and four of West’s six men are dead, while West himself seems to have vanished. Eager to get the facts behind what happened, Col. Bill Styles (Tim Daly) assigns Capt. Julia Osborne (Connie Nielsen) to investigate. However, Osborne is having a hard time getting the two survivors to talk, so Styles brings in Tom Hardy (John Travolta), a former Army Ranger who served under West and became a first-class interrogator; Hardy later became a DEA agent, but left law enforcement after allegations of corruption. Hardy interviews Dunbar (Brian Van Holt), who claims that the four soldiers had been murdered, and West was killed in retaliation. Kendall (Giovanni Ribisi), the other survivor (whose father is a powerful officer) has a very different story of how the five men turned up dead, and it’s up to Hardy and Osborne to determine who is telling the truth — or if anyone is saying exactly what happened. Basic marked the first time John Travolta and Samuel L. Jackson appeared in the same film together since their breakthrough roles in Pulp Fiction.

Director Paul Verhoeven (Showgirls, Total Recall) reunited many from his 1987 Robocop team for this $100-million science fiction adventure, adapted from Robert A. Heinlein’s 1959 novel, originally serialized in The Magazine of Fantasy and Science Fiction (October-November, 1959). After graduation, Johnny Rico (Casper Van Dien) volunteers for the Mobile Infantry to do his Federal service — but also to win over his girlfriend, Carmen Ibanez (Denise Richards), who has signed with the Fleet Academy to become a starship pilot. Johnny joins other boot-camp recruits — Dizzy Flores (Dina Meyer), who has had a crush on Johnny since school, and Ace Levy (Jake Busey). Ace and Johnny become pals, and Johnny’s abilities earn him the squad leader position. A training accident occurs on Johnny’s watch, and he is about to resign when Earth is attacked by alien insects intent on eradicating all human life. Johnny’s home, Buenos Aires, is no longer on the map. Horrified, he chooses to stay on and fight to destroy the insect threat. The Mobile Infantry travels to the planet Klendathu to battle the warrior bugs, a ruthless enemy with only one goal — survival of their species no matter what. In the initial encounter, some 100,000 lives are lost. At a distant fort, Johnny’s unit discovers that the bugs drain brains to acquire knowledge. Soon they are overwhelmed by an advancing arthropod army of immense proportions, attacking both in space and on the planet surface. The notion of human extinction becomes a possibility. For this $100-million production, some 300 artists and technicians combined models and miniatures with CGI effects to fashion a variety of creatures — from breeder bugs to armored tanker bugs. The film employed hundreds of extras and has over 500 visual effects shots. Filming began 4/29/96 in California (LA and Long Beach, where Cal State’s pyramid gym was used for the Jumpball game), New York, South Dakota, Wyoming (Casper, Hell’s Half Acre), and Utah (an abandoned Wendover airstrip where the Enola Gay WWII bomber crew trained). At an abandoned airfield in Fountain Valley, California, an elaborate set was constructed to resemble a military boot camp of the future — complete with an array of pup tents, gull-winged spaceships, hurdle obstacle course, and training facility buildings. Cinematography by Jost Vacano (Showgirls). Licensed products include Lewis Galoob Inc. toys.

Inspired by a familiar Chinese folk tale, this $90 million animated Disney drama follows the adventures of a young woman in ancient China. Character animator Tony Bancroft and 17-year Disney veteran Barry Cook (Captain EO, Tron, Trail Mix-Up) formed the directing team with production design by Hans Bacher (Balto), and work on the film began 2 January 1995 under the working title The Legend of Mulan. While the merciless Shan-Yu (Miguel Ferrer) leads invading Huns over the Great Wall, young Mulan (Ming-Na Wen, with singing by Lea Salonga) sees a matchmaker about her matrimonial future. Mulan’s views on accepted marriage traditions prompt the ballad, “Reflection,” as she hopes for a recognition of her true self. To repel the Huns, a man from each family is required to join the Imperial Army. When Mulan’s elderly father Fa Zhou (Soon-Tek Oh) volunteers, she objects. He warns, “I know my place. It is time you learned yours.” Mulan, however, cuts her hair, dresses as a man, and is ready for military camp, prompting the concern of her First Ancestor (George Takei), who converts an inanimate incense burner into the 18-inch high comedic dragon Mushu (Eddie Murphy). With Mushu hidden in her clothing, she joins a group of raw recruits under the command of Captain Shang (B.D. Wong, singing by Donny Osmond). During an ambush by the Huns in a mountain pass, Mulan steps in to turn defeat into a victory. Mulan was the first Disney feature from the company’s 200,000-square-foot Orlando facility (now known as Walt Disney Feature Animation Florida).

Hawk-like Marine Corps officer Benson Payne (Damon Wayans) attempts to whip into shape the usual assortment of misfit JROTC kids in this minor remake of The Private War of Major Benson. Of course, both the major and his pint-sized recruits have something to teach one another. Payne teaches them the value of self-discipline and instills self-confidence in them, and the recruits teach him to stop and smell the roses (not to mention the fact that kids sometimes need coddling rather than screaming). And, of course, there is the annual JROTC statewide competition, which the kids are obligated to win before the movie can end. While there are some funny moments (the major’s exhibition in full-dress whites at a school dance, for example), the script seems too color-by-numbers to be interesting to anyone other than undiscriminating younger viewers.

Randall Wallace directs Mel Gibson in the Vietnam War drama We Were Soldiers, which comes to DVD with a widescreen anamorphic transfer that preserves the original theatrical aspect ratio of 2.35:1. Closed-captioned English soundtracks are rendered in both DD-EX 5.1 and Dolby Digital Surround, while a French soundtrack has also been recorded in Dolby Digital Surround. English subtitles are accessible. Supplemental materials include a commentary track recorded by the director, ten deleted scenes with director commentary, and a making-of featurette. This is a strong disc from Paramount.

Tim Burton directs the fantasy drama Big Fish, based on the book Big Fish: A Novel of Mythic Proportions by Southern writer/illustrator Daniel Wallace. Billy Crudup plays William Bloom, a young man who never really knew his dying father, Edward (Albert Finney) outside of the tall tales he told about growing up, making his way, and meeting his mother (played as a young woman by Alison Lohman and in older age by Jessica Lange). During Edward’s last days, William and his wife Josephine (Marion Cotillard) hold bedside vigil as the old man recollects elaborate memories of his youth (in which he is played by Ewan McGregor). Still doubting the the legends and folklore, William makes a journey to meet a mysterious woman (Helena Bonham Carter) from whom Edward had bought property. Steve Buscemi and Danny De Vito also star.