Bovie Movie

Director Gus Van Sant returned to the low-key style of his early independent efforts with this semi-improvised exploration of how violence makes its way into a typical American high school. Eric (Eric Deulen) and Alex (Alex Frost) are two close friends who are students in a well-to-do suburb of Portland, OR. Eric and Alex are at once ordinary and misfits; while they seem to be confined to the edges of the clique-oriented social strata of high school, little about their behavior draws attention to itself. Or at least not during a typical school day; on their own time, the two boys are fascinated by Nazi iconography, enjoy violent video games, tentatively explore homoerotic desires, and coolly begin to make plans for an armed ambush of the school, drawing up working diagrams of the lunch room during study hall and buying rifles over the Internet. Drawing an expected degree of controversy, Elephant had its world premiere when it was screened in competition at the 2003 Cannes Film Festival, where it won both Best Director for Van Sant and the Golden Palm award.

A young boy stumbles upon a simple way to change the world in this drama. Trevor (Haley Joel Osment) is a bright 11-year-old boy who comes from a troubled home; his mother Arlene (Helen Hunt) is an alcoholic trying to hold down two jobs to support her son, while Trevor’s father Jon Bon Jovi) left his family behind some time ago. At school, Trevor’s class is introduced to their new social studies teacher, Mr. Simonet (Kevin Spacey), a guarded man with severe facial scars. Simonet gives his class an unusual assignment — think up a practical way to make the world a better place, and put it into action. Trevor comes up with the notion of Pay It Forward” — do a needed favor for three different people without being asked, and then ask them to do the same for three others. Trevor starts by letting Jerry (James Caviezal), a junkie living on the streets, stay in his home. Next, he tries to fix Arlene up with Mr. Simonet, since both seem to be lonely and the clean and sober teacher might help Arlene stay away from alcohol. Finally, he tries to rescue one of his schoolmates, who is constantly tormented by bullies. Meanwhile, journalist Chris Chandler (Jay Mohr) finds himself stuck on the road without a car late one night when a man stops and give him the keys to a new car, asking him only to pay the favor forward to someone else; astonished, Chris wants to find out where this philosophy came from. Based on the novel by Catherine Ryan Hide, Pay It Forward also stars Angie Dickinson and Liev Schreiber.

Anne Rice’s best-selling romantic horror tale about the origins of a centuries-old vampire inspired this popular, atmospheric chiller. One of director Neil Jordan’s major Hollywood productions, the film stays close to its source material, retaining the frame of a young reporter (Christian Slater) interviewing a man who claims to be a 200-year-old vampire. The man, Louis (Brad Pitt), shares his story, beginning in 18th-century New Orleans with his first encounters with the charismatic and decadent vampire Lestat (Tom Cruise). Lestat converts Louis to blood-sucking and immortality, but Louis fails to adopt Lestat’s cavalier attitude, instead tormenting himself with guilt over his new nature. The two vampires remain deeply, if reluctantly, connected over the years, while becoming intimately involved with others of their kind, including Claudia (Kirsten Dunst), a mature immortal in a young child’s body. Fans of the novel raised numerous objections, particularly after Rice initially spoke out against the casting of Cruise as Lestat; further casting difficulties followed the death of River Phoenix, whose role as the interviewer was assumed by Christian Slater. Rice later recanted her objections, and the combination of thrills and gothic romance proved popular with audiences.

A tough-talking teen attempts to uncover his ex-girlfriend’s killer in director Rian Johnson’s hard-boiled high-school noir, told in the style of a Dashiell Hammett mystery. An outsider by nature, Brendan (Joseph Gordon-Levitt) is forced to penetrate the elaborate ranks of the high-school social scene and its more insidious underbelly when the body of his former girlfriend Emily is found lying lifeless in a remote creek. Though the pair had been on the outs, Brendan can’t seem to shake the hysterical phone call that he received from Emily the day before her body was discovered, a call in which she rattled off a number of cryptic words: “brick,” “pin,” “tug,” “poor Frisco.” He’s determined to find the guilty party, and to do that he’ll need to uncover the meaning behind her enigmatic phone call. From the highest-ranking athlete to the lowest-level burnout, no one is above suspicion of leaving her in that creek or putting her in the position to end up there. Brendan’s skill for getting the right attention from the right people leads him to a local drug dealer of urban-legendary status (Lukas Haas), who walks with a cane and lives with his mother. As Brendan infiltrates the social and political web more deeply, his theory solidifies and each player’s role becomes clear, from the shifty-eyed pot slinger to an upper-crust innocent who may well be a femme fatale. Brendan may soon be ready to make his case, even if it’s too late for him to get out.

Narrator Job (Robby Kiger) relates the tale of Gatlin, NE, where one day the children, led by a boy preacher named Isaac (John Franklin), rose up and slaughtered all the grown-ups. A few years later, Job and his sister, Sarah (Ammemarie McEvoy), help their friend, Joseph (Jonas Marlowe), try to escape through the cornfields of Gatlin. Meanwhile, Burt Stanton (Peter Horton), a commitment-phobic young doctor, and Vicky Baxter (Linda Hamilton), his frustrated girlfriend, travel through the cornfield-lined roads of Nebraska on their way to Burt’s new internship in Omaha. Their car hits Joseph, who appears out of nowhere, but upon examining him, Burt realizes the child’s throat was slit before he ever wandered out from the corn. Attempting to locate help, Burt and Vicky turn to gas-station owner Diehl (R.G. Armstrong), who urges the couple to go anywhere but nearby Gatlin to report the murder. Several contradictory street signs later, they arrive in Gatlin anyway, and, befriending Sarah and Joseph, attempt to uncover the mystery behind Isaac’s cult and its mysterious deity, known only as He Who Walks Behind the Rows. Stephen King cash-ins flooded the market between the successes of Brian DePalma’s Carrie (1976) and Rob Reiner’s Misery (1990), many of them, like Children of the Corn, based only loosely on the author’s fiction. The original short story appeared in the collection Night Shift.