Bovie Movie

Oliver Stone’s breakthrough as a director, Platoon is a brutally realistic look at a young soldier’s tour of duty in Vietnam. Chris Taylor (Charlie Sheen) is a college student who quits school to volunteer for the Army in the late ’60s. He’s shipped off to Vietnam, where he serves with a culturally diverse group of fellow soldiers under two men who lead the platoon: Sgt. Barnes (Tom Berenger), whose facial scars are a mirror of the violence and corruption of his soul, and Sgt. Elias (Willem Dafoe), who maintains a Zen-like calm in the jungle and fights with both personal and moral courage even though he no longer believes in the war. After a few weeks “in country,” Taylor begins to see the na?vet? of his views of the war, especially after a quick search for enemy troops devolves into a round of murder and rape. Unlike Hollywood’s first wave of Vietnam movies (including The Deer Hunter, Apocalypse Now, and Coming Home), Platoon is a grunts-eye view of the war, touching on moral issues but focusing on the men who fought the battles and suffered the wounds. In this sense, it resembles older war movies more than its Vietnam peers, as it mixes familiar elements of onscreen battle with small realistic details: bugs, jungle rot, exhaustion, C-rations, marijuana, and counting the days before you go home. This mix of traditional war movie elements with a contemporary sensibility won Platoon four Oscars including Best Picture and Best Director, and a reputation as one of the definitive modern war films.

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.

“I am….Drac-u-la. I bid you velcome.” Thus does Bela Lugosi declare his presence in the 1931 screen version of Bram Stoker’s Dracula. Director Tod Browning invests most of his mood and atmosphere in the first two reels, which were based on the original Stoker novel; the rest of the film is a more stagebound translation of the popular stage play by John Balderston and Hamilton Deane. Even so, the electric tension between the elegant Dracula and the vampire hunter Professor Van Helsing (Edward Van Sloan) works as well on the screen as it did on the stage. And it’s hard to forget such moments as the lustful gleam in the eyes of Mina Harker (Helen Chandler) as she succumbs to the will of Dracula, or the omnipresent insane giggle of the fly-eating Renfield (Dwight Frye). Despite the static nature of the final scenes, Dracula is a classic among horror films, with Bela Lugosi giving the performance of a lifetime as the erudite Count (both Lugosi and co-star Frye would forever after be typecast as a result of this film, which had unfortunate consequences for both men’s careers). Compare this Dracula to the simultaneously filmed Spanish-language version, which makes up for the absence of Lugosi with a stronger sense of visual dynamics in the lengthy dialogue sequences. In 1999, a special rerelease of Dracula was prepared featuring a new musical score written by Philip Glass and performed by The Kronos Quartet.

Cute but geeky high-school student Samantha Martin (Hilary Duff) is knocked off her feet by her father’s untimely death, which leaves his diner and Samantha’s well-being in the care of Fiona (Jennifer Coolidge), Sam’s thoroughly wicked stepmother. Not one to take on such menial tasks as dishwashing and mopping floors, Fiona exploits Sam’s dependence as a method of hoisting any dirty work off her own shoulders. School is hardly a break for Samantha, particularly when Shelby (Julie Gonzalo) is around; spoiled, wealthy, and popular, Shelby treats Samantha nearly as badly as Fiona does. Samantha’s life is irrevocably changed, however, by two events: a makeover of epic proportions and a sudden electronic correspondence with a mysterious young man. Due to a misplaced cell phone and a series of fateful coincidences, Samantha and her Prince Charming develop a romance through text messages and e-mails, and ultimately promise to meet face-to-face at the biggest school dance of the year. Of course, getting there doesn’t go smoothly, and Samantha may miss her chance to meet her dream date — none other than Austin (Chad Michael Murray), the most popular boy in school.