Bovie Movie

Ten years before Jane Austen’s novel Sense and Sensibility was transformed into a lavish theatrical feature by director Ang Lee, the property was adapted as a rather less lavish but no less entertaining British TV miniseries. Irene Richard and Tracy Childs starred as Elinor and Marianne Dashwood, two attractive sisters from a prominent British family. When the Dashwoods go broke after the death of their father, the flighty Marianne and the more reserved (and, need we add, more intelligent) Elinor go on an exhaustive search for proper, and properly wealthy, husbands. Sense and Sensibility was served up in three 60-minute portions by the BBC.

This lavish big-budget epic was the pinnacle of a uniquely Italian subgenre, the historical hardcore gore/porn extravaganza. The star-studded cast, perhaps lured by the high-profile involvement of producer Bob Guccione and screenwriter Gore Vidal, includes such luminaries as John Gielgud, Peter O’Toole, and Helen Mirren. Director Tinto Brass, whose similar treatment of Nazi Germany in Salon Kitty won him the job, did his best with the mammoth enterprise, but numerous production problems and re-edits took their toll on the finished product. When Caligula works best, it works because of Malcolm McDowell, whose crazed portrayal of the title Emperor is the embodiment of villainous corruption. McDowell raises his performance level to match the gaudy spectacle around him, which led to charges of overacting, but there are moments when he is absolutely riveting. Some of the cast doesn’t fare as well, as O’Toole makes a particularly unsubtle Tiberius. The sex is graphic and steamy, particularly a feverish lesbian interlude between Penthouse Pets Lori Wagner and Marjorie Thorsen (using the pseudonym “Anneka di Lorenzo”), and the various carnival freaks used as atmosphere imbue the film with a grotesque, Fellini-like opulence. There are many memorable scenes and a magnificent score by Paul Clemente, but the heady brew of historical epic, hardcore sex, and gory violence proved overwhelming to many viewers. Still, Gore Vidal’s script is surprisingly accurate, and manages to be entertainingly vulgar while bringing a rather loathsome slice of human history to vivid life, warts and all. The more explicit scenes were directed by Bob Guccione and Giancarlo Lui, causing both Vidal and Brass to remove their names from the credits.

Jane Austen’s perennially popular story of the game of love among the British upper classes returns to the screen in this polished film adaptation. The Bennetts (Brenda Blethyn and Donald Sutherland) are the parents of five daughters near the close of the 18th century. Comfortable within their means but well short of rich, Mr. and Mrs. Bennett are looking for suitable husbands for their girls, and they are encouraged to learn that an eligible young bachelor from a wealthy family, Charles Bingley (Simon Woods), has moved into a nearby estate. Eager to see if a match can be made, the Bennetts bring their daughters Elizabeth (Keira Knightley) and Jane (Rosamund Pike) to a ball thrown by their new neighbor to see if sparks will fly. Jane seems to like Charles, and he appears to feel the same, but Elizabeth takes an immediate dislike to Darcy (Matthew MacFadyen), Charles’ egocentric best friend. While Elizabeth is infatuated with military man Lt. Wickham (Rupert Friend) and finds herself courted by William Collins (Tom Hollander), a well-meaning but drab man of the cloth, fate causes Elizabeth and Darcy to frequently cross paths, and while they don’t care for one another, they can’t stop thinking about each other, either. Pride & Prejudice also stars Jena Malone, Judi Dench, and Penelope Wilton.

Chevy Chase, star of National Lampoon’s Vacation and its sequel, is back as the paterfamilias of the Griswold family (including Beverly D’Angelo as his missus) to skewer the Yuletide season. Chevy mugs, trips, falls, mashes his fingers and stubs his toes as he prepares to invite numerous dysfunctional relatives to his household to celebrate Christmas. Amidst the more outrageous sight gags (including the electrocution of a cat as the Christmas tree is lit) the film betrays a sentimental streak, with old wounds healing and long-estranged relatives reuniting in the Griswold living room. National Lampoon’s Christmas Vacation was still capable of attracting an audience five years after its release: It was one of the top-rated seasonal TV specials of 1994, outrating even the first network telecast of It’s a Wonderful Life.

A real-life series of killings that held Los Angeles, CA, in the grip of fear during the late ’70s provides the inspiration for this tense crime drama. Kenneth Bianchi (C. Thomas Howell) is a nebbishy security guard who lives with his mother in Rochester, NY, and dreams of becoming a police officer. After Bianchi’s application to join the Rochester police is turned town, he takes his mother’s advice and moves out to Glendale, CA, where she arranges for him to stay with his cousin, Angelo Buono (Nicholas Turturro), who works in auto repair. When he’s unable to get a position with the Glendale Police Department, Bianchi steps outside the law and, claiming to have a degree in psychology and a license to practice, sets up shop as a counselor. While Bianchi never had much luck with women in Rochester, Buono gives him some advice and sets him up on a few dates; soon Bianchi has a string of girlfriends, though things become complicated when one of his steady girls, Claire Shelton (Allison Lange), becomes pregnant and moves in with him. As Bianchi becomes increasingly obsessed with sex, he and his cousin join forces to set up a prostitution ring, which quickly earns them the enmity of a group of career criminals. When Bianchi and Buono discover that they have been double crossed by one of the hookers in their stable, the two men rape and murder the woman in the back of a car; Bianchi discovers he enjoys the thrill of killing, and soon he and Buono begin committing a string of sexually tinged murders throughout the Los Angeles area, with the press soon dubbing the culprit “The Hillside Strangler.” The Hillside Strangler was one of two identically titled films based on the same true story that were released in 2004; the other was directed by Chris Fisher and starred Clifton Collins Jr. and Tomas Arana as Bianchi and Buono.

In this downbeat drama, a reformed criminal finds himself led back to a life of crime. Fresh out of prison, former safecracker Victor Kelly (Christopher Walken) wants to support his daughter Miriam (Vera Farmiga) and Aunt Dierdre (Anne Pitoniak) with his new career in auto repair. But Victor’s deep in debt, and he’s in no position to say no when he and his Irish gangster cousin Michael (Peter McDonald) hook up with two security guards (Jose Zuniga and (Donal Logue) looking for someone who can open a safe. The Opportunists was written and directed by Myles Connell in his feature debut; the supporting cast includes pop singer Cyndi Lauper as Victor’s girlfriend.

Five brothers and sisters find their uncle has a big surprise hidden in his estate in this comic fantasy for the whole family. Not long after World War I breaks out, five children — Cyril (Jonathan Bailey), Robert (Freddie Highmore), Anthea (Jessica Claridge), Jane (Poppy Rogers), and Lamb — find themselves in dangerous circumstances when their father is sent off to fight, and their mother volunteers to be a field nurse. Unable to care for themselves, the children are sent to the country, where they stay with their eccentric uncle Albert (Kenneth Branagh) and his ill-tempered son, Horace (Alexander Pownall), in Albert’s ramshackle home. Uncle Albert has more than a few rules about what the children can and cannot do, but his strictest edict is that the children must never go into his greenhouse. Of course, the children’s curiosity gets the better of them, and they sneak in to discover their uncle’s big secret — the building is home to Psammead (voice of Eddie Izzard), an ugly and often bad-mannered “sand fairy” who has the ability to grant wishes. However, the kids discover that Psammead’s wishes only last for 24 hours, and that they have a strange habit of backfiring on their beneficiaries. 5 Children & It was based on the classic book for children by E. Nesbit; Psammead was realized onscreen with a puppet created by Jim Henson’s celebrated Creature Shop

One woman’s rocky road to the altar gets played for laughs in this comedy, adapted from the one-woman off-Broadway show written by and starring Nia Vardalos. Toula (Vardalos) is a Greek-American woman who is in her early thirties and single, with no immediate prospects of changing that status any time soon. This bothers Toula a bit, but not half as much as it distresses her mother (Lainie Kazan) and father (Michael Constantine), who want to send her to Greece in hopes of finding a husband in the old country. Toula isn’t interested in leaving the country to find a man, but since she works in the family business — a Greek restaurant in Chicago called Dancing Zorba’s — she has to hear about it whether she likes it or not. One day, after seeing a handsome stranger in the restaurant and not having the courage to talk to him, Toula decides she needs a bit of self-improvement. Despite her dad’s misgivings, Toula signs up for a night-school class studying computers, trades in her glasses for contact lenses, gets a different job at a travel agency, and spruces herself up with a new look and a new attitude. To her very pleasant surprise, she once again encounters the handsome stranger, who soon asks her out on a date. Schoolteacher Ian Miller (John Corbett) is seemingly perfect — he’s tall, handsome, smart, good-natured, and soon in love with Toula — except for two little things: he’s not Greek, and he’s a vegetarian, both of which horrify Toula’s family. When Ian pops the question (and Toula says yes), the bride-to-be has to negotiate a reasonably peaceful meeting between Ian’s upper-class parents and her own working-class extended family. There’s also the matter of the wedding, which Toula’s mother is planning around the notion that quantity IS quality. My Big Fat Greek Wedding also features Ian Gomez (Vardalos’ real-life husband), Louis Mandylor, Andrea Martin, and Joey Fatone (from the pop group *NSYNC). Tom Hanks and Rita Wilson helped produce the film through the auspices of their production company, Playtone.