Bovie Movie

The directorial debut from Jason Reitman, the media satire Thank You for Smoking stars Aaron Eckhart as Nick, a man who has turned spinning news and information into a successful career for the tobacco lobby. He plots strategies with his colleagues (Maria Bello and David Koechner) on how to make other dangerous products more appealing to the American public. Nick ends up going to Hollywood with his young son (Cameron Bright) in order to get a movie producer to include characters smoking in his newest film. Nick is kidnapped by a vigilante group concerned about the harmful nature of his product. The cast includes William H. Macy as a Senator who runs on a strong anti-tobacco position, Rob Lowe as the Hollywood bigwig, and Robert Duvall as the king of the tobacco industry. The film is an adaptation of the novel of the same name by Christopher Buckley.

Douglas McGrath’s Infamous represents the second major biopic about the avant-garde belletrist Truman Capote to be released within a year. It thus tells roughly the same story as Bennett Miller’s earlier Capote, recounting the events that belied the writer’s six-year authorship of the seminal “nonfiction novel” In Cold Blood. The story opens with Capote (Toby Jones) visiting the site of the 1959 Clutter family homicide, on a Kansas research trip, accompanied by his close friend and colleague, author Harper Lee (Sandra Bullock). As Capote settles into the community, McGrath uses the preponderance of screen time to explore the emotional tapestry of Capote’s increasingly risky emotional attachment to one of the two murderers, Perry Edward Smith (Daniel Craig), with whom he senses more than a few common bonds. McGrath weaves a decidedly bittersweet tale, contrasting the optimism and devil-may-care, “conquer all” attitude of Capote in his early years with a seemingly endless string of poor choices in the writer’s later years, from addictions to drink and pills, to a failure to maintain healthy output as a writer, to poorly chosen romantic and sexual entanglements. Most significantly, however, McGrath reveals how the relationship with Smith virtually destroyed Capote as an artist and a human being, by inducing him to sell out on all levels to satisfy his lust for accomplishment and notoriety.

An American woman discovers that Paris truly is the city of love — though not in the manner she expected — in this romantic comedy. Kate (Meg Ryan) is desperately afraid of flying, so when her fianc?e Charlie (Timothy Hutton) flies to Paris on business, she must stay behind. Kate has been having second thoughts about her impending marriage, but that changes when Charlie calls her to say that the engagement is off — he’s met a beautiful French woman named Juliette (Susan Anbeh), and he’s fallen in love. Determined to win Charlie back, Kate confronts her fears and hops on board the next flight to Paris, where she finds herself seated next to Luc Teyssier (Kevin Kline), a French thief who stashes some valuable jewelry in her baggage hoping to avoid capture. While Luc simply wants to get his jewels back, he pretends to be willing to help Kate find Charlie and win him back in order to keep her luggage out of harm’s way, but to his surprise (as well as Kate’s), the two become infatuated as they make their way through the City of Lights. Leading lady Meg Ryan also served as co-producer for this film.

Eccentric inventor Wallace (voice of Peter Sallis) and his faithful if often perplexed dog Gromit are back in their first feature-length adventure from animator Nick Park. Wallace and Gromit have launched a new business venture just in time for a major gardening competition in their neighborhood of West Wallaby. “Anti-Pesto” is a humane pest-relocation service in which Wallace and Gromit capture rabbits and other critters who have been eating the produce from local gardens and give them new homes somewhere else. Business has been going well, and when the woman hosting the garden show, Lady Tottington (voice of Helena Bonham Carter), discovers a massive tribe of rabbits has been making a mess of her garden, she calls in Wallace and Gromit to move the bunnies elsewhere. Wallace is quite taken with Lady Tottington, but he’s not the only one — Victor Quartermaine (voice of Ralph Fiennes) is a slick but arrogant upper-class type who wants to win Lady Tottington’s hand (and fortune) and is convinced he can do a better job capturing the rabbits than Wallace. However, Wallace’s attempts to brainwash the rabbits away from veggies using his latest invention has disastrous results, and soon Wallace has to deal with a beastly bunny as well as a heavily-armed Quartermaine. Wallace and Gromit: The Curse of the Were-Rabbit followed Park’s previous film with the duo, A Close Shave, by ten years, and was produced after Park broke through to mainstream success with the feature Chicken Run.

Gore Verbinski, the TV-commercials director responsible for the Budweiser frogs, directed this Adam Rifkin screenplay about two brothers (Nathan Lane and Lee Evans) who inherit a string factory and a decaying country home after the death of their father (the late William Hickey, in his last role). After moving in, they learn that the house has historical architectural importance and is valued in the millions. However, they are constantly tormented by a mouse within the walls. They engage in cartoon-like combat against the rodent, but it manages to outwit the brothers in successive situations. Both live and animatronic mice portray the title role, and some scenes assume the mouse’s point of view. The film is dedicated to William Hickey.

When a weapons multi-national Palisade Defence reward their European sales division with a team-building weekend in the mountains of Eastern Europe, comedy blends with horror as the team fight first amongst themselves, and later for survival against a group of war-crazed killers intent on revenge.

Brett, a young woman from the suburbs, is an associate editor at a small New York publishing house, hoping to be promoted when, on the same day, she meets a literary lion, Archie Knox, who’s 50 and who shows an interest in her, and gets a new boss, a dolly-dolly Brit. Brett is soon dating Archie, then moves in with him. He’s charming, attentive, and gives advice. He also has a history - ex-wives, a distant daughter, a couple of diseases, and a photo album of former girlfriends. It’s no fairy tale: family issues (and more) intervene, and Brett has decisions to make. Meanwhile, she’s working with a writer who fears peanut butter sticking to the roof of his mouth. Is Archie dinner, an hors d’oeuvre, or a peanut-butter sandwich?