Bovie Movie

Just when you thought it was safe to go hiking in the bushes again…along comes Mick Taylor. Kristy, Ben and Liz are three pals in their twenties who set out to hike through the scenic Wolf Creek National Park in the Australian Outback. The trouble begins when they get back only to find that their car won’t start. The trio think they have a way out when they run into a local bushman named Mick Taylor. Wait until you get a load of what Mick has in store for them. Their troubles have just begun.

Harold, a prosperous English gangster, is about to close a lucrative new deal when bombs start showing up in very inconvenient places. A mysterious syndicate is trying to muscle in on his action, and Harold wants to know who they are. He finds out soon enough, and bloody mayhem ensues.

Wes Craven produces this remake of his 1977 classic of the same name, about the Carters, an idyllic American family travelling through the great American southwest. But their trip takes a detour into an area closed off from the public, but more importantly from society. An area originally used by the U.S. Government for nuclear testing that was intended to be empty…or so they thought? When the Carter’s car breaks down at the old site, they’re stranded…or are they? As the Carters may soon realize that what seemed like a car casually breaking down, might actually be a trap. This trap might be perpetrated by the inhabitants of the site who aren’t pulling a prank, but are out to set up a gruesome massacre.

A Christlike figure wanders through bizarre, grotesque scenarios filled with religious and sacrilegious imagery. He meets a mystical guide who introduces him to seven wealthy and powerful individuals, each representing a planet in the solar system. These seven, along with the protagonist, the guide and the guide’s assistant, divest themselves of their worldly goods and form a group of nine who will seek out the Holy Mountain, in order to displace the gods who live there and become immortal.

A martial artist hunts a killer in a plague-infested urban dump of the future. He is the protective escort for a half-human, half-cyborg woman whose programming contains a possible cure for a plague that’s threatening to wipe out the entire population of Earth. But a woman is kidnapped by the martial artist’s evil nemesis while they are en route to her Atlanta headquarters. That leads him right into a lion’s den of sadomasochistic torture and torment.

Planned for years, but plagued by problems such as the death of director John Frankenheimer before production had even begun and the exiting of star Liam Neeson, the fourth installment of the Exorcist saga finally got off the ground with Paul Schrader (Affliction, Auto Focus) behind the camera and Stellan Skarsg?rd filling the shoes left empty by Neeson. But the pitfalls didn’t stop there, as Morgan Creek decided against their initial approach assigned to Schrader after seeing his finished cut, and hired Renny Harlin to reshoot the film with extra gore and head-spinning nastiness. The first prequel in the series, Exorcist: The Beginning is based upon events occurring before the first film. Playing the character made famous by Max von Sydow in the earlier films, this entry finds Skarsg?rd as a young Father Merrin facing true evil for the first time in Africa in the wake of World War II. When a young local boy begins to behave strangely, it becomes more and more apparent to Merrin that the child is a victim of demonic possession. Boasting a first-time screenplay by best-selling novelist Caleb Carr (The Alienist), Exorcist: The Beginning features a supporting cast headed by Izabella Scorupco (GoldenEye) and James D’Arcy (Master And Commander).

The Monty Pyton team tells the life, death and resurrection (?) of Brian from Nazareth, an unwilling prophet who wants to free his land from the oppression of Rome. When Brian covers a huge wall with the writing “ROMANI ITE DOMUM” (Romans go home), a local revolutionary group begins to take him seriously…

John Milius’s jingoistic direction and pulpy screenplay fit perfectly into this film version of the Robert E. Howard fantasy story of the sword and sorcery hero, Conan the Barbarian. Complementing Mulius’s heavy metal production is Arnold Schwarzenegger’s leaden acting, which in any other context would be deadly, but here (as in The Terminator) corresponds nicely with the whole sonorous project. The story begins when a horde of rampaging warriors massacre the parents of young Conan and enslave the young child for years on The Wheel of Pain. The Wheel of Pain seems to have as its only purpose the building up of Conan’s muscles, so it’s no surprise that one day Conan grows up to become Arnold Schwarzenegger. As the sole survivor of the childhood massacre, Conan is released from slavery and taught the ancient arts of fighting. Transforming himself into a killing machine, Conan travels into the wilderness to seek vengeance on Thulsa Doom (James Earl Jones), the man responsible for killing his family. In the wilderness, Conan takes up with the thieves Valeria (Sandahl Bergman) and Subota (Gerry Lopez). The trio comes upon a weird snake cult, linked to Doom, and Conan wants to trek off to Doom’s mountain retreat to kill him. But he is prevented from doing that by King Osrik (Max Von Sydow), who wants the trio of warriors to help rescue his daughter who has joined Doom in the hills.

Tobe Hooper’s influential cult classic continues the subgenre of horror films based on the life and “career” of Wisconsin serial killer Ed Gein, which began with Alfred Hitchcock’s own influential cult classic Psycho. When Sally Hardesty (Marilyn Burns) hears that the Texas cemetery where her grandfather is buried has been vandalized, she gathers her wheelchair-bound brother Franklin (Paul A. Partain) and several other friends together to see if grandpa’s remains are still in one piece. While in the area, Sally and her friends decide to visit grandfather’s old farmhouse. Unfortunately, a family of homicidal slaughterhouse workers who take their job home with them have taken over the house next door. Included amongst the brood is Leatherface (Gunnar Hansen), a chainsaw-wielding human horror show who wears a face mask made out of human skin. Sally’s friends are rapidly exterminated one-by-one by the next-door neighbors, leaving only Sally left to fight off Leatherface and his clan.

As maestro TV producer Stephen J. Cannell’s latest foray into feature work, The Tooth Fairy represents the latest direct-to-video entry in an unofficial series of slasher films that resurrect friendly characters in a horrific vein — from the 1997 Jack Frost to the 2005 Gingerdead Man. This particular outing begins with the legend of a woman known as “The Tooth Fairy,” who lures unsuspecting children to her home with promises of gifts in exchange for their lost teeth, and then butchers them. The film implies, at its outset, that the homicidal slayer is long gone — and that her home is being converted to a cozy bed and breakfast. Everyone believes the story — until a young girl and her mother check into the inn. The child happens to be on the verge of losing a tooth, and all hell breaks loose. Chuck Bowman (A Kiss So Deadly) directs, from a teleplay co-authored by Cannell and Corey Strode.