Bovie Movie

Jim Jarmusch’s deadpan comedy-of-the-night is a collection of five vignettes taking place in the enclosed space of a cab ride, each occurring simultaneously in five different cities and five different time zones — Los Angeles, New York City, Paris, Rome, and Helsinki. The Los Angeles episode takes place at dusk, as high-powered casting agent Victoria (Gena Rowlands) gets a ride from L.A. International Airport with tomboy driver Corky (Winona Ryder), who would rather go on driving her cab than take up Victoria’s offer to make her a superstar. In New York City, novice East German cabbie Helmut Grokenberger (Armin Mueller-Stahl) has difficulty working the foot pedals to his hack, and his passenger, YoYo (Giancarlo Esposito), ends up driving himself to Brooklyn, picking up the shrill-voiced Angela (Rosie Perez) along the way. In Paris, an African cab driver (Isaach De Bankol?) ejects a collection of drunken African diplomats from his cab and picks up a beautiful but surly blind girl (B?atrice Dalle). In Rome, cab driver Gino (Roberto Benigni) engages in a heartfelt monologue confessing his past sexual exploits to his passenger, a priest who is dying of a heart attack in the back seat. The film winds down in the last melancholy vignette, taking place in Helsinki, as taxi driver Mika (Matti Pellonp??) picks up three inebriated workmen who regale him with hard-luck stories. But Mika has a much harsher story of his own to tell.

A man whose life has been touched by tragic illness is drawn into the life of another victim whose story has an unsettling twist in this drama. Gabriel Noone (Robin Williams) is a radio talk show host who has developed a loyal following for his deeply personal on-air monologues, many of which deal with his relationship with his companion Jess (Bobby Cannavale), who is HIV-positive and struggling with his health. When Jess’ condition improves, he surprises Gabriel by announcing he needs his space and has decided to break up with him. Gabriel is shaken and feels creatively blocked until Ashe (Joe Morton), a friend in the publishing business, gives him an advance copy of a memoir by Pete Logand (Rory Culkin), a 14-year-old boy living with AIDS. Pete’s book is a harrowing memoir of a childhood fraught with abuse of all sorts meted out at the hands of his parents, and Gabriel is deeply moved by his story. One night, Gabriel gets a phone call from Pete, who claims to be a big fan of his radio show, but the call is cut off by Donna (Toni Collette), Pete’s stern and protective stepmother. While Gabriel admires Pete’s book, he begins to question its veracity, and with the help of Anna (Sandra Oh) tries to research the facts behind the story. As he uncovers more loose ends, Gabriel begins to suspect that Pete isn’t the true author of the work, and that Donna has created his terrible past in the name of literary celebrity. The Night Listener was adapted from the novel by Armistead Maupin.

Spoof series torch-bearer and Airplane! mastermind David Zucker steps back into the captain’s chair for yet another round of cinematic shenanigans in the latest installment of the Scary Movie franchise, this time mocking such frightful blockbusters as Saw, War of the Worlds, The Village, and The Grudge. An alien invasion threatens to wipe out the entire human race, but not if Cindy Campbell (Anna Faris) and her nymphomaniac pal Brenda Meeks (Regina Hall) have any say in the matter. With the clock counting down for all of humankind and the extraterrestrial invasion about to begin, the fearless but slightly dunderheaded heroines are joined by a series of celebrity guests including Dr. Phil, Carmen Electra, Chris Elliot, Shaquille O’Neal, and, of course, Leslie Nielsen in ensuring that the planet remains free of the alien menace and prepared for yet another installment in the over-the-top, pop-culture deflating satire series. Although two versions of this film officially exist (a PG-13 one and an “Unrated and Uncensored” one - evidently they skipped the R version) the unrated cut only reportedly features about 3 extra minutes of screen time, devoted to jiggling and bouncing breast implants.

In Blink, a woman regaining her eyesight after a double cornea transplant operation glimpses the killer of her upstairs neighbor and then must fight for her life as the killer stalks her. Emma Brody (Madeline Stowe), a musician in an Irish folk-rock band was blinded as a result of childhood abuse by her mother. Her doctor, Ryan Pierce (Peter Friedman) performs an operation to restore her vision, but soon Emma is suffering from retroactive hallucinations in which she sees things that have happened hours, or even days, before. As she was the only witness to the murder, her credibility soon comes into question, but she is believed by Detective Hallstrom (Aidan Quinn) who has been tracking what he believes to be a serial killer. Hallstrom also believes that Emma may hold the key to the murderer’s motives.

Wait Until Dark is an innovative, highly entertaining and suspenseful thriller about a blind housewife, Susy Hendrix (Audrey Hepburn). Independent and resourceful, Susy is learning to cope with her blindness, which resulted from a recent accident. She is aided by her difficult, slightly unreliable young neighbor Gloria (Julie Herrod) with whom she has an exasperated but lovingly maternal relationship. Susy’s life is changed as she is terrorized by a group of criminals who believe she has hidden a baby doll used by them to smuggle heroin into the country. Unknown to Susy, her photographer husband Sam (Efrem Zimbalist Jr.) took the doll as a favor for a woman he met on an international plane flight and unwittingly brought the doll to the couple’s New York apartment when the woman became afraid of the customs officials. Alone in her apartment and cut-off from the outside world, Susy must fight for her life against a gang of ruthless criminals, led by the violent, psychotic Roat (Alan Arkin). The tension builds as Roat, aided by his gang, impersonates police officers and friends of her husband in order to win Susy’s confidence, gaining access to her apartment to look for the doll. The climax of the film, a violent physical confrontation between Susie and Roat in her dark kitchen, is one of the most memorable and frightening scenes in screen history. All performances are outstanding, particularly those of Audrey Hepburn who plays a vulnerable, but self-reliant woman, and Alan Arkin, in perhaps his best role, as the ruthless, manipulative Roat.