Bovie Movie

This movie, based on the cult Broadway musical of the 60s, tells a story about Claude, a young man from Oklahoma who comes to New York City. There he strikes up a friendship with a group of hippies, led by Berger, and falls in love with Sheila, a girl from a rich family. However, their happiness is short because Claude must go to the Vietnam war.

At first gas station attendant Poet is happy when the rockers gang “Hell’s Angels” finally accepts him. But he’s shocked when he learns how brutal they are - not even murder is a taboo to them. He gets himself in trouble when the leader’s girlfriend falls in love with him - and he welcomes her approaches.

In this hit ’80s hybrid of the horror movie and the teen flick, a single mom and her two sons become involved with a pack of vampires when they move into an offbeat Northern California town. Lucy (Dianne Wiest) and her sons, Michael (Jason Patric) and Sam (Corey Haim), move to Santa Carla to live with Lucy’s lovable but curmudgeonly father (Barnard Hughes). Lucy gets a job from video store-owner Max (Edward Herrmann), then begins dating him, while Sam hangs out with Edward and Alan Frog (Corey Feldman and Jamison Newlander), a pair of vampire-obsessed comic-shop clerks. Soon Michael falls in with some actual vampires after becoming enamored of one of their victims: Star (Jami Gertz), a gypsy-like vixen who is trying to hold onto her humanity even though vampire leader David (Kiefer Sutherland) wants to play Peter Pan to her Wendy. When Michael visits the cavernous hangout of David and his cronies and unwittingly drinks from a wine bottle full of vampiric blood, he becomes an unwilling member of the bloodsucker biker gang. Soon, it’s up to Sam and the Frog brothers to destroy David and his ilk without killing Michael and Star. Shot on location in the coastal California town of Santa Cruz and directed by Hollywood pro Joel Schumacher, The Lost Boys became a pop-culture phenomenon thanks to its attractive young stars, offbeat soundtrack, and hip, clever marketing campaign; the film’s tagline — “Sleep all day. Party all night. Never grow old. Never die. It’s fun to be a vampire.” — perfectly captured its knowing mixture of attitude and gore. The effects team who transformed Sutherland and company into snarling blood-suckers would go on to provide equally gruesome effects for Blade, another revisionist vampire flick, more than a decade later.

Roland Rat, Margaret Thatcher; Rubik’s Cubes, the Royal Wedding; aerobics, skinheads… It’s 1983, and the schools are breaking up for summer. Shaun is 12 and a bit of a loner, growing up with his mum in a grim coastal town, his dad killed fighting in the Falklands War. On his way home from school where he’s been tormented all day for wearing flares, he runs into a group of skinheads, who against expectations turn out to be friendly and take him under their wing. Soon Shaun discovers parties, girls and snappy dressing, and finds some role models in Woody, Milky and the rest of the gang. But when an older, overtly racist skinhead returns home from prison, the easy camaraderie of the group is broken, and Shaun is drawn into much more uncomfortable territory. Based largely on his own experience as a youngster, this is Shane Meadows’ most mature and fully realised film. Handling the complexities of masculinity, violence and race with sensitivity and a lightness of touch, it’s hard to imagine a film that would better capture the mood of the time, or that could have any greater an understanding of the allure of being part of a gang.

In this darkly comic drama, Edward Norton stars as a depressed young man (named in the credits only as “Narrator”) who has become a small cog in the world of big business. He doesn’t like his work and gets no sense of reward from it, attempting instead to drown his sorrows by putting together the “perfect” apartment. He can’t sleep and feels alienated from the world at large; he’s become so desperate to relate to others that he’s taken to visiting support groups for patients with terminal diseases so that he’ll have people to talk to. One day on a business flight, he discovers Tyler Durden (Brad Pitt), a charming iconoclast who sells soap. Tyler doesn’t put much stock in the materialistic world, and he believes that one can learn a great deal through pain, misfortune, and chaos. Tyler cheerfully challenges his new friend to a fight. Our Narrator finds that bare-knuckle brawling makes him feel more alive than he has in years, and soon the two become friends and roommates, meeting informally to fight once a week. As more men join in, the “fight club” becomes an underground sensation, even though it’s a closely guarded secret among the participants. (First rule: Don’t talk about fight club. Second rule: Don’t talk about fight club.) But as our Narrator and Tyler bond through violence, a strange situation becomes more complicated when Tyler becomes involved with Marla (Helena Bonham Carter), whom our Narrator became infatuated with when they were both crashing the support-group circuit. Based on the novel by Chuck Palahniuk, Fight Club was directed by David Fincher, who previously directed Pitt in the thriller Seven.