Bovie Movie

Writer/director Nicole Kassell makes her feature film debut with the drama The Woodsman. Co-written by Steven Fechter, the original script won first place at the Slamdance Screenplay Competition in 2001. Kevin Bacon plays Walter, a child molester who gets out of prison after serving a 12-year sentence. He returns to his old town and tries to start over by working at a woodyard. Fortunately, his brother-in-law (Benjamin Bratt) helps him get a place to live. He even strikes up a relationship with local gal Vickie (Bacon’s real-life wife, Kyra Sedgwick). However, Walter still struggles with his past and the suspicions of co-worker Mary-Kay (Eve) and Detective Lucas (Mos Def). The Woodsman premiered at the Sundance Film Festival in 2004 as part of the dramatic competition.

A mismatched group of bored suburbanites longing to escape the stress of their daily lives and embrace the freedom of the open road finds that it takes more than polished chrome and leather jackets to truly experience the biker lifestyle in this revved-up road comedy starring John Travolta, Tim Allen, Martin Lawrence, and William H. Macy. Upon trading the comfort of their couches for the thunderous rumble of two-wheeled street machines, these four adventurous riders cross paths with the notorious Del Fuegos — an authentic biker gang that doesn’t take kindly to the weekend warrior type.

Bill Cosby’s gang of childhood pals evolve from standup comedy to an animated cartoon series to real life in this family-friendly comedy. Doris (Kyla Pratt) is a teenager who doesn’t fit in with most of her classmates at school, has been depressed since the death of her grandfather, and is disturbed by her foster sister’s willingness to remake herself in order to be popular. One of Doris’ few solaces comes from watching reruns of the animated television series Fat Albert and the Cosby Kids, and one day while watching the show she starts to cry, with a tear dropping into her remote. The tear draws big-hearted (and just plain big) Fat Albert (Kenan Thompson) from the animated universe into Doris’ real world in hopes of cheering her up and helping her deal with her problems. As Fat Albert and his pals — Rudy (Shedrack Anderson III), Bucky (Alphonso McAuley), Mushmouth (Jermaine Williams), Weird Harold (Aaron A. Frazier), Dumb Donald (Marques B. Houston), and Bill (Keith D. Robinson) — adapt to the three-dimensional world and try to teach Doris to believe in herself, they learn that traveling back to the animated world is harder than they thought, which becomes alarming when they start to fade away. The real world also poses some new dilemmas for Fat Albert when he falls in love with Doris’ foster sister, Lauri (Dania Ramirez). Bill Cosby co-authored the screenplay for Fat Albert, using his full name, William H. Cosby Jr., and collaborating with Charles Kipps; the project was begun with Forest Whitaker as director, who left midway through shooting, with Joel Zwick taking over in his place.

Douglas McGrath’s Infamous represents the second major biopic about the avant-garde belletrist Truman Capote to be released within a year. It thus tells roughly the same story as Bennett Miller’s earlier Capote, recounting the events that belied the writer’s six-year authorship of the seminal “nonfiction novel” In Cold Blood. The story opens with Capote (Toby Jones) visiting the site of the 1959 Clutter family homicide, on a Kansas research trip, accompanied by his close friend and colleague, author Harper Lee (Sandra Bullock). As Capote settles into the community, McGrath uses the preponderance of screen time to explore the emotional tapestry of Capote’s increasingly risky emotional attachment to one of the two murderers, Perry Edward Smith (Daniel Craig), with whom he senses more than a few common bonds. McGrath weaves a decidedly bittersweet tale, contrasting the optimism and devil-may-care, “conquer all” attitude of Capote in his early years with a seemingly endless string of poor choices in the writer’s later years, from addictions to drink and pills, to a failure to maintain healthy output as a writer, to poorly chosen romantic and sexual entanglements. Most significantly, however, McGrath reveals how the relationship with Smith virtually destroyed Capote as an artist and a human being, by inducing him to sell out on all levels to satisfy his lust for accomplishment and notoriety.

Nancy Meyers’ romantic comedy Holiday stars Cameron Diaz and Kate Winslet as two women who exchange houses in order to get a new lease on life. After each suffers her fair share of romantic disappointments, Englishwoman Iris (Winslet) and L.A. woman Amanda (Diaz) meet on-line at a website devoted to helping people exchange houses for vacations. Each agrees to spend the Christmas holiday at the other’s home. While each suffers from a minor case of culture shock, both women also end up becoming involved with a man. Iris makes the acquaintance of an upbeat everyman played by Jack Black, while Amanda spends time with a handsome Brit played by Jude Law. Both women must decide what to do with these new relationships as their pre-arranged house switch is scheduled to last less than two weeks.

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.

Robert Redford directed this adaptation of a novel by Steven Pressfield that uses golf as a metaphor for one man’s spiritual and philosophical journeys. Rannulph Junuh (Matt Damon) was a gifted amateur golfer from Savannah, GA, until traumatic experiences during World War I shattered his confidence and sent him into a spiral of alcoholism. In 1931, Adele Invergordon (Charlize Theron), a beautiful heiress who once loved Junuh, inherits a spectacular but financially ailing golf course after the suicide of her father. To attract customers, she proposed a high-stakes match between the two most famous golfers of the day, Bobby Jones (Joel Gretsch) and Walter Hagen (Bruce McGill). Local businessmen sponsoring the match insist that a local golfer be added to the card, and Junuh is drafted for the position, but it soon becomes obvious that his game is just a shadow of its former glory. When things seem hopeless, a mysterious gentleman named Bagger Vance (Will Smith) volunteers to serve as Junuh’s caddy and coach, using a mixture of ancient wisdom and past-life knowledge to help Junah “remember” the swing he’s lost. Jack Lemmon narrates the story, and J. Michael Moncrief plays Lemmon’s character as a boy.

A lonely man’s search for companionship soon takes him to dangerous and unexpected places in this erotically charged drama. Luis Antonio Vargas (Antonio Banderas) is a successful coffee salesman living in Cuba in the 1880s. Luis has had little luck finding love among the women of his native island, and he sends away to America for a mail-order bride. To his pleasant surprise, his fianc?e from the United States, Julia Russell (Angelina Jolie), turns out to be not only beautiful but passionate and devoted. But Luis’ happiness proves to be short-lived when he learns that Julia is not the person he imagined her to be, and detective Walter Downs (Thomas Jane) appears, trying to get to the bottom of Julia’s mysterious past and possibly deadly secrets. Original Sin is based on the novel Waltz Into Darkness by Cornell Woolrich, which Francois Truffaut previously adapted for the screen as La Sirene du Mississippi.

A group of close female friends on a yearly adventure vacation find themselves trapped and hunted in a series of caves by an unknown force that lurks in the shadows in The Descent, the second horror feature from Dog Soldiers writer/director Neil Marshall. After suffering a devastating car crash one year before, Sarah (Shauna Macdonald) is lured to the States with her friend Beth (Alex Reid) to a special spelunking trip by the fearless Juno (Natalie Mendoza), who abruptly fled from the U.K. after Sarah’s accident. Along with two old friends and a new acquaintance of Juno’s, the group embark on a cave expedition that takes a turn for the worse after a rock fall leaves them stranded in an uncharted cave with no map and only a handful of supplies to last them the rest of the trip. As tensions arise in the group, they are faced with another danger — one whose love of the dark is as strong as its lust for blood. Opening to rave reviews in the U.K. in July of 2005, the creature-feature went on to show at the Venice Film Festival and garnered the top prize for Euro feature at Sweden’s Fantastic Film Festival. The Descent was picked up for future U.S. distribution by Lion’s Gate, whose work was cut out for them considering the tame opening of the similarly-themed stateside production of The Cave in late-August of the same year.

The Barefoot Contessa begins at the funeral of Ava Gardner, a former Spanish peasant, cabaret dancer and movie star, who at the time of her death was a full-fledged contessa. Her life story unfolds in flashback recollections from her mourners. Film director Humphrey Bogart recalls how his career was saved when he discovered Gardner on behalf of Howard R. Hughes-like mogul Warren Stevens. Press agent Edmond O’Brien remembers how Ava was wooed and then abandoned by mercurial millionaire Marius Goring, and Italian count Rosanno Brazzi reflects on how he was able to wed the tempestuous Gardner, only to watch his world crumble after revealing on their wedding night that he was “only half a man.” O’Brien received Best Supporting Actor awards at both the Academy Awards and Golden Globes in 1954.