Bovie Movie

A thesp-turned-crook gets a chance at career in movies as well as crime scene investigation in this offbeat action comedy with nods to Raymond Chandler. Harry Lockhart (Robert Downey Jr.) is a struggling New York actor who high-tails it to Los Angeles. Once there, Lockhart winds up at the posh home of the aptly-named homosexual private eye Gay Perry (Val Kilmer) amid a lavish Hollywood party, hoping to score a life-changing role in a Hollywood feature. Harry becomes reacquainted with Harmony (Michelle Monaghan), a girl he had a major crush on in his small-town Indiana high school, who may be a bit more interested in him now than she was years ago. He takes both her and her girlfriend home with him, but - in a moment of drunken stupor - accidentally sleeps with the wrong woman. Meanwhile, when a series of female bodies turns up across L.A., Harry slowly breaks into detective work, mentored by Perry. The biggest twist? Black riffs Adaptation and other films by having Harry (via satirical narration) write the movie while he is living it. Harry assures the audience that unlike Lord of the Rings, this one won’t have seventeen endings. Kiss Kiss, Bang Bang marks the first directorial credit for Shane Black, who created the Lethal Weapon franchise.

Further cementing 2003 as the year of Ron Shelton cop movies, the director continued his vacation from the sports genre with Hollywood Homicide, a police comedy that comes right on the heels of Shelton’s Dark Blue, a decidedly grittier cop thriller. The film stars Harrison Ford and Josh Hartnett as LAPD homicide detectives Joe Gavilan and K.C. Calden, two cops with bigger dreams. Gavilan moonlights as a real estate agent, while Calden teaches yoga and yearns for a career on the big screen. When an entire hip-hop group is murdered on-stage, Gavilan and Calden are called in to handle the case. As their investigation progresses, they begin to suspect that the rappers were offed for attempting to get out of their recording contract with label head Sartain (Isaiah Washington). Along with Bruce Greenwood and Keith David, the supporting cast boasts a plethora of real-life musicians, including Dr. Dre, Gladys Knight, Dwight Yoakam, Master P, and Ronald DeVoe of New Edition and Bell Biv DeVoe.

Radio legend and 3-D pioneer Arch Oboler brings his story, Alter Ego, to the screen in a low-budget yarn that benefits from a strong cast and direction. Joan Ellis (Phyllis Thaxter) hears a voice in her head (in flashbacks) shortly before she is to be married. She flees to another city and even takes up with another man to rid herself of the voice, but random words bring it back at unexpected moments. The voice ultimately tells her to kill her husband-to-be, and when a psychiatrist (Edmund Gwenn) determines on the eve of her execution that Joan is possessed by a split personality, a struggle ensues to see which one will survive. Oboler uses radio techniques and tense scripting to bring his thriller to visual life.

Robert DeNiro continues to lampoon his tough-guy persona with this spoof of buddy cop movies that teams him with comic co-star Eddie Murphy. DeNiro is L.A.P.D. detective Mitch Preston, a gruff, no-nonsense 28-year veteran whose bust of a drug gang is botched one night by Trey Sellars (Murphy), a bumbling patrolman who’s really a frustrated actor at heart. When Mitch’s aggravation is captured by a television news crew, he fires his gun in their direction and becomes an instant media celebrity, while earning himself a temporary suspension at work. After his fame draws the attention of network TV producer Chase Renzi (Rene Russo), Mitch is soon informed that the only way he can get back to work is to allow a production crew to trail him on the job for a new cop reality series called “Showtime”. In order to make the taciturn lawman more palatable to the viewing public, he’s paired with the camera-friendly, fast-talking Trey. The new partners drive each other crazy, but their mismatched sensibilities make for great TV, while their newfound fame has its advantages in getting them back on the trail of those escaped drug dealers, who possess a powerful new weapon. Showtime co-stars Frankie Faison and William Shatner, who sends up his own TV cop role in T.J. Hooker.

Prolific television director Gary Nelson made the Walt Disney live-action comedy Freaky Friday, based on the novel by Mary Rodgers. Barbara Harris stars as suburban housewife Ellen Andrews, the wife of Bill (John Astin) and the mother of Annabel (Jodie Foster) and Ben (Sparky Marcus). Ellen just can’t understand what’s going on with teenaged Annabel, who hangs around the house making snappy remarks, eating ice cream for breakfast, and calling her brother Apeface. They each make a separate wish to be in the other’s place, and they get their wish on Friday 13th. Ellen has to go through the day as a kid, playing on the field hockey team and dealing with typing class. Annabel has to deal with grown-up problems like getting appliances fixed and preparing a banquet. The whole silly story ends with a wacky car-chase/water skiing/hang-gliding conclusion in keeping with other Disney movies of the day. Freaky Friday was remade twice with the same title, and spawned a whole subgenre of body-switching movies in the 1980s.

A recently widowed eccentric with money to burn and no intentions of settling down enlists the aide of a showbiz professional to transform a run-down theater in Soho into London’s most innovative entertainment hot spot in director Stephen Frears’ cinematic account of the groundbreaking Windmill Theater. The year is 1937 and, despite having recently lost her husband, 69-year-old Laura Henderson (Judy Dench) remains as ambitious and vital as ever. Aghast at her friend Lady Conway’s (Thelma Barlow) suggestion that she take up a mundane hobby such as diamond collecting to pass the time, Mrs. Henderson instead shocks her well-to-do social circle by purchasing the ramshackle Windmill Theater in the heart of downtown Soho. Unafraid to take a risk in the venture, yet lacking the experience needed to run the theater, Mrs. Henderson brings in showbiz veteran Vivian Van Damm (Bob Hoskins) to line up an opening act that will set the stage ablaze. When the ever-curious Mrs. Henderson’s intrusive spying begins to impede on Mr. Van Damm’s creative progress, the frustrated theater manager has her banished from rehearsals. Though Van Damm’s innovative idea to stage an unending stream of entertainment dubbed “Revudeville” proves a wild and profitable success, the Windmill begins to suffer when other local theaters quickly follow suit. Now faced with the prospect of seeing her once-lucrative endeavor fall by the wayside due to the unoriginality of the copycats who surround her, Mrs. Henderson decides to show audiences something they’ve never seen before by making the Windmill the first theater to feature nude female entertainers live on-stage.

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.

The turning point in the life of Ed Pekurny (Matthew McConaughey) comes thanks to the misfortunes of the NorthWest Broadcasting Company. After two years on the air, their flagship cable channel, True TV, has slid into obscurity due to competition from the The Gardening Channel. Program director Cynthia Topping (Ellen DeGeneres) brainstorms a last ditch effort to save the channel: broadcast one ordinary person’s life 24 hours a day, unedited (while he sleeps, the day’s highlights will be shown). When the network agrees to the idea, Topping must find the subject of her program. After endless auditions, she lucks upon Ed, a goofy but good-looking video store clerk. Ed has little time to get used to his new shadow, a three man video crew, before the show becomes a hit. Suddenly Ed’s a cultural icon with fan clubs, stalkers, and imitators, but the media saturation has it’s effects on his friends and family, who are now part of the program. Ed alienates his proud brother, Ray (Woody Harrelson), by falling in love with his girlfriend, Shari (Jenna Elfman). His estranged father Hank (Dennis Hopper) reappears after abandoning the family and creates tension between Ed and Ray’s mother, Jeanette (Sally Kirkland) and her wheelchair-bound second husband, Al (Martin Landau). When Ed realizes the phenomenon has turned on him, he convinces Topping to stop the ordeal, but not her boss, Whitaker (Rob Reiner). To regain his life, Ed must find a way to cancel EDtv.

Michael Dorsey (Dustin Hoffman), a brilliant but troublesome New York actor, has managed to alienate every producer on both coasts. Michael’s agent George Fields (Sydney Pollack) can’t even get his client a commercial since Michael complained that the tomato he was playing wasn’t properly motivated. “You were a tomato!” screams George in desperation, adding that Michael is so obnoxious that he will probably never work again. Dorsey thinks otherwise; when he hears of an opening on a popular soap opera, he applies for the job–even though the job is for a woman. Posing as “Miss Dorothy Michaels,” Michael wins the part and becomes a widely-known actress. Yet complications ensue when Michael falls for his co-star Julie (Jessica Lange, in an Oscar-winning performance) but, as Dorothy, is courted by Julie’s widowed father (Charles Durning). Michael ultimately finds that his disguise as a woman has made him a better man. One of the classic comedies of the 1980s, Tootsie’s gender-bending premise boasts a screenplay by Larry Gelbart and Murray Schisgal, and by a host of memorable supporting comic performances from Dabney Coleman, Teri Garr, George Gaynes, and Bill Murray. Future Oscar-winner Geena Davis makes her screen debut as a daytime drama queen, which indeed she had been before Tootsie came along.

Here’s the basic “schtick” of Bugsy Malone: it’s a gangster picture enacted by children. Acted out before scaled-down sets, the film details the career of Bugsy Malone (Scott Baio), who rises to the top of the criminal ladder in 1920s New York. Whenever gunfire is called for, the kiddie crooks substitute whipped cream for bullets. Paul Williams contributes several good songs, which are performed by adult singers and lip-synched by the pint-sized actors. The cast includes John Cassisi as diminutive Capone clone Fat Sam, and then-13-year-old Jodie Foster as the sultry nightclub thrush Tallulah.