Bovie Movie

John Hughes sticks to his seemingly fool-proof formula for success in Baby’s Day Out, a cross-pollination of Home Alone and a Swee’ Pea cartoon. The plot seems all-too familiar: posing as baby photographers, a group of three would-be kidnappers (led by the usually outstanding character actor Joe Pantoliano) enter an unsuspecting wealthy Chicago couple’s home and make off with Baby Bink after leaving a ransom note. However, while waiting for the delivery of the ransom money, Baby Bink manages to escape and subsequently embarks on a series of cutesy-poo adventures in downtown Chicago (including a crawl through a skyscraper construction site), leaving the hapless crooks in hot pursuit.

Former X-Files writer James Wong makes his sophomore feature as a director at the helm of this science fiction thriller that’s reminiscent of Timecop (1994). In the near future, a technology called “quantum tunneling” allows human beings to travel between parallel universes. The abuse of this ability by criminal elements has led to the formation of the Multi-Verse Authorities or “MVA,” an agency of quantum traveling cops who apprehend violators of inter-dimensional laws. The MVA faces its greatest crisis when a former agent named Gabriel Yulaw (Jet Li) goes renegade, traveling between one universe and the next, murdering his own parallel selves and gaining enormous power with each slaying. It is believed that when Yulaw has become “the one,” the only version of himself to exist, he will be omnipotent, but the final Gabriel Yulaw exists in our plane of existence (the “magna universe”) and is also becoming stronger, though he doesn’t understand why. Hot on the evil Yulaw’s trail are his former partner Harry Roedecker (Delroy Lindo) and Harry’s new colleague Evan Funsch (Jason Statham). Created with Wong’s longtime writing and producing partner Glen Morgan, The One (2001) co-stars Carla Gugino.

This modern retelling of the classic fairytale follows a beautiful college freshman as she pledges her late mother’s once dignified sorority. But after discovering that today’s sisterhood is not what it used to be, Sydney finds her new home away from home with seven outcasts. With the help of her socially challenged new friends, Sydney will take on the reigning campus queen to attempt to transform the school’s misguided social hierarchy.

Two people develop an unusual relationship that bends the boundaries of time and place in this romantic fantasy. Kate Forster (Sandra Bullock) is a doctor who lives in a beautiful home by a lake. Forced to move elsewhere, she requests that any correspondence that arrives at the lake house be passed on to her new address. To her surprise, she soon receives a romantic note from Alex Burnham (Keanu Reeves), an architect who lives in the cottage she once called home. However, a look at the postmark on the letter reveals that he lived at the home two years before she did, and that somehow they’ve come in contact with one another through a space in time. A remake of Lee Hyun-seung’s acclaimed Korean romance Il Mare (aka Siworae), The Lake House was the first American production from Argentinean filmmaker Alejandro Agresti; the supporting cast includes Christopher Plummer, Dylan Walsh, and Lynn Collins.

A suburban home has become physically animated by a vengeful human soul looking to stir up trouble from beyond the grave, and it’s up to three adventurous kids from the neighborhood to do battle with the structural golem in this comically frightful tale, directed by Gil Kenan and featuring the voices of Steve Buscemi, Nick Cannon, Maggie Gyllenhaal, and Kevin James. DJ Harvard (voice of Mitchel Musso) lives directly across the street from a most unusual house. A malevolent entity that longs to feed on the energy of the living, the once peaceful house that looms ominously outside of DJ’s bedroom window would like nothing more than the chance to feast on the children of the neighborhood. As Halloween begins to draw near and the children of the neighborhood prepare for another long night of trick-or-treating, it appears as if it may be the house that is in for the biggest treat of all. Now, with the adults turning a deaf ear to DJ’s strange findings, it’s up to the brave young boy and his faithful friends Chowder (voice of Sam Lerner) and Jenny (Spencer Locke) to break through the barrier of the supernatural and defeat the powers of darkness before the house grows too powerful to fight.

A group of security analysts are offered a job by the CIA and when they are reluctant, pressure is brought to bear by the threat to disclose the identity of their leader, a 60s radical with outstanding warrants. A chip exists that will allow any computer to be cracked, and organized crime will soon control it, though sudden changes in their police records suggest that it is already operational.

Best buddies Abbie (Madonna), a heterosexual yoga instructor, and Robert (Rupert Everett), a gay landscaper, cope with failed relationships, the approach of middle age, and the AIDS-related death of a mutual friend by sticking together as a “family of choice.” Drunk one night, they have sex, and when Abbie turns up pregnant, they decide to move in together and raise the child as decidedly unconventional co-parents. Flash forward several years and Abbie begins dating Ben (Benjamin Bratt), an investment banker. The new relationship causes tension between Abbie and Robert that ultimately leads to betrayal, courtroom confrontation, and a sudden denouement. Everett, a sometime writer of trashy comic novels such as Hello Darling, Are You Working?, reportedly supplied the film’s concept and even additional dialogue, although Tom Ropelewski is the credited screenwriter. This was pop diva Madonna’s first film role since the hoopla of Evita; she supplied a highly edited hit cover of Don McLean’s “American Pie” and one other song for the soundtrack, which was released on her own Maverick imprint.

The stars have aligned in an ominous sign, and as a legion of malevolent monsters descends upon New York City to wage war against humanity, the only thing that stands between humankind and certain destruction are four wisecracking turtles with a flair for martial arts and a hearty appetite for pizza. Kevin Eastman and Peter Laird’s “heroes in a half-shell” return to defend the world against an interstellar threat that comes just once every 3,000 years in a computer-animated action comedy that marked the final film role of Japanese screen legend Mako — here providing the voice of the eternally wise Master Splinter. Buffy the Vampire Slayer star Sarah Michelle Gellar lends her voice to the role of the turtles’ technical-services worker, April; Fantastic Four’s Chris Evans assumes the role of hockey-loving crimefighter Casey Jones; Memoirs of a Geisha star Zhang Ziyi steps in as villainous Foot Ninjas leader Karai; and Star Trek: The Next Generation captain Patrick Stewart voices malevolent tech industrialist Max Winters — a mortal man whose hunger for profit and power may spell doom for all humanity.

A group of teens discover that the next generation of survival horror games are more realistic than they thought when they begin dying in the same manner as their pixilated counterparts in director William Brent Bell’s bloody tale of video games gone bad. In the days following the mysterious death of an old friend, a young group of gaming enthusiasts comes into possession of a chillingly realistic game based on the exploits of a 17th century noblewoman who earned the name “The Blood Countess” for her murderous exploits. Their curiosity piqued by the fact that they were obviously not supposed to come into possession of the grisly game, the teens soon give in to temptation and begin doing battle for high score. When the chilling events of the game begin to bleed over into the real world and the real-life deaths of the players begin to mirror the deaths of their in-game characters, the race is on to defeat the murderous Blood Countess and ensure that other curious gamers don’t fall into the same deadly trap that they did.

The Oprah Book Club best-seller by Janet Fitch makes it to the big screen in this adaptation from British director Peter Kosminsky. White Oleander recounts the traumatic adolescence of Astrid Magnusson (Alison Lohman), who finds herself an orphan after her short-fused, enigmatic artist mother Ingrid (Michelle Pfeiffer) is carted off to prison on murder charges. Astrid first finds herself in the care of Starr (Robin Wright Penn), a garish, born-again mother of two with a gruff but sensitive boyfriend (Cole Hauser). From there, she’s shunted back to a state-run facility, where she tangles with other troubled teens and finds temporary solace in the arms of Paul (Patrick Fugit), a dough-faced comic book artist with dreams of moving to New York City. Astrid then lucks into a living arrangement with a successful but insecure actress (Renee Zellweger) who offers her unconditional love. But Ingrid’s stifling influence continues to haunt her daughter, whether through the occasional prison visit or via manipulative letters to Astrid’s caretakers. White Oleander received a Gala North American premiere at the 2002 Toronto Film Festival before reaching multiplexes later that fall.