Bovie Movie

Inventor Gepetto creates a wooden marionette called Pinocchio. His wish that Pinocchio be a real boy is unexpectedly granted by a fairy. The fairy assigns Jiminy Cricket to act as Pinocchio’s “conscience” and keep him out of trouble. Jiminy is not too successful in this endeavor and most of the film is spent with Pinocchio deep in trouble.

The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he’d prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, “protected” from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O’Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who’ve been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to “westernize” himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war’s end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City…as a tourist. Bernardo Bertolucci’s first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director.

Oil drives greed in Oscar-winning Traffic screenwriter Stephen Gaghan’s labyrinthine sophomore directorial effort that traces the corruption of the global oil industry from the backrooms of Washington, D.C., to the petroleum-rich fields of the Middle East. Based in part on the writings of former CIA case officer Robert Baer, Syriana combines multiple storylines to explore the complexities that befall a proposed merger between two U.S. oil giants. Reform-minded Gulf country prince Nasir (Alexander Siddig) is in favor of making his nation more self-sufficient rather than U.S.-reliant, and his money-minded Western connections couldn’t be less pleased. Before settling into a cushy desk job for the remainder of his career, CIA agent Bob Barnes (George Clooney) is sent on one last assignment — to assassinate Prince Nasir and reinstate U.S. ties in the oil-rich region. Though his loyalty dictates that Barnes carry out his current mission despite lingering doubts of a previous blunder, his mission goes horribly awry when his field contact goes turncoat and Barnes becomes a CIA scapegoat. Meanwhile, up-and-coming Washington attorney Bennett Holiday (Jeffrey Wright) attempts to walk a fine line in overseeing a tenuous merger between two oil giants that’s plagued with shady business dealings. Hotshot energy analyst Bryan Woodman (Matt Damon) is in talks to form a lucrative partnership with Prince Nasir, though the death of his son during a party at the prince’s estate makes him question his loyalty to business over family. Back in Washington, D.C., Bennet’s boss Dean Whiting attempts to undermine Prince Nasir’s attempts to make his country less reliant on the U.S. dollar by planting the seeds of dissonance between the progressive prince and his money-minded younger brother Prince Meshal (Akbar Kurtha).

Inspired by a familiar Chinese folk tale, this $90 million animated Disney drama follows the adventures of a young woman in ancient China. Character animator Tony Bancroft and 17-year Disney veteran Barry Cook (Captain EO, Tron, Trail Mix-Up) formed the directing team with production design by Hans Bacher (Balto), and work on the film began 2 January 1995 under the working title The Legend of Mulan. While the merciless Shan-Yu (Miguel Ferrer) leads invading Huns over the Great Wall, young Mulan (Ming-Na Wen, with singing by Lea Salonga) sees a matchmaker about her matrimonial future. Mulan’s views on accepted marriage traditions prompt the ballad, “Reflection,” as she hopes for a recognition of her true self. To repel the Huns, a man from each family is required to join the Imperial Army. When Mulan’s elderly father Fa Zhou (Soon-Tek Oh) volunteers, she objects. He warns, “I know my place. It is time you learned yours.” Mulan, however, cuts her hair, dresses as a man, and is ready for military camp, prompting the concern of her First Ancestor (George Takei), who converts an inanimate incense burner into the 18-inch high comedic dragon Mushu (Eddie Murphy). With Mushu hidden in her clothing, she joins a group of raw recruits under the command of Captain Shang (B.D. Wong, singing by Donny Osmond). During an ambush by the Huns in a mountain pass, Mulan steps in to turn defeat into a victory. Mulan was the first Disney feature from the company’s 200,000-square-foot Orlando facility (now known as Walt Disney Feature Animation Florida).

A gal who needs a date for a family function gets the best man money can buy in this romantic comedy. Kat Ellis (Debra Messing) is a woman in her mid-thirties living in New York City and has had more than her share of romantic problems — enough so that she’s gotten word that her younger half-sister Amy (Amy Adams) is getting married, and that her mother Bunny (Holland Taylor) and father Victor (Peter Egan) want to fix her up with someone so she won’t look alone and miserable for the big day. Adding insult to injury, Kat learns that the best man at the ceremony will be Jeffrey (Jeremy Sheffield), a former boyfriend who cruelly dumped her without warning two years before. Determined not to show up alone, Kat swallows her pride and hires Nick Mercer (Dermot Mulroney), a professional escort, who will pose as her boyfriend for a $6,000 fee. Kat and Nick fly to England for the wedding, and her family and friends are all struck by how charming, handsome, and personable Nick is — and Kat begins wondering if their relationship has to be all business; however, as it turns out, Nick understands Kat far better than she expects. The Wedding Date was based on the novel Asking for Trouble by British author Elizabeth Young.