Bovie Movie

Promoted as a family musical by Paramount Pictures, Willy Wonka and the Chocolate Factory is more of a black comedy, perversely faithful to the spirit of Roald Dahl’s original book Charlie and the Chocolate Factory. Enigmatic candy manufacturer Willy Wonka (Gene Wilder) stages a contest by hiding five golden tickets in five of his scrumptious candy bars. Whoever comes up with these tickets will win a free tour of the Wonka factory, as well as a lifetime supply of candy. Four of the five winning children are insufferable brats: the fifth is a likeable young lad named Charlie Bucket (Peter Ostrum), who takes the tour in the company of his equally amiable grandfather (Jack Albertson). In the course of the tour, Willy Wonka punishes the four nastier children in various diabolical methods — one kid is inflated and covered with blueberry dye, another ends up as a principal ingredient of the chocolate, and so on — because these kids have violated the ethics of Wonka’s factory. In the end, only Charlie and his grandfather are left. Ostensibly set in England, Willy Wonka and the Chocolate Factory was lensed in Germany (as revealed by the film’s final overhead shot).

Outrageously violent, time-twisting, and in love with language, Pulp Fiction was widely considered the most influential American movie of the 1990s. Director and co-screenwriter Quentin Tarantino synthesized such seemingly disparate traditions as the syncopated language of David Mamet; the serious violence of American gangster movies, crime movies, and films noirs mixed up with the wacky violence of cartoons, video games, and Japanese animation; and the fragmented story-telling structures of such experimental classics as Citizen Kane, Rashomon, and La jet?e. The Oscar-winning script by Tarantino and Roger Avary intertwines three stories, featuring Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, as hit men who have philosophical interchanges on such topics as the French names for American fast food products; Bruce Willis as a boxer out of a 1940s B-movie; and such other stalwarts as Harvey Keitel, Tim Roth, Christopher Walken, Eric Stoltz, Ving Rhames, and Uma Thurman, whose dance sequence with Travolta proved an instant classic.

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

In this action-horror flick from director Robert Rodriguez and screenwriter Quentin Tarantino, Tarantino stars with George Clooney as a pair of bad-to-the-bone brothers named Seth and Richie Gecko. After a string of robberies that left a river of blood in the Geckos’ wake, the sadistic siblings head to Mexico to live the good life. To get over the border, they kidnap Jacob Fuller, a widowed preacher played by Harvey Keitel, and his two children, Kate (Juliette Lewis) and Scott (Ernest Liu). Once south of the border, the quintet park their RV at a rough-and-tumble trucker bar called The Titty Twister, where Seth and Richie are supposed to meet a local thug. After a couple of drinks, they realize that they’re not in a typical bar, as the entire place begins to teem with vicious, blood-sucking vampires. With the odds stacked greatly against them, the Fullers and Geckos team together in hopes of defeating the creatures of the night. Makeup artist Tom Savini and blaxploitation star Fred Williamson appear as allies against the vampires, and Cheech Marin fills three different roles.

Better Luck Tomorrow director Justin Lin picks up where John Singleton left off to offer a high-octane look at the world of underground Japanese drift-racing in the latest installment of the super-charged Fast and the Furious film series. A frustrated teen from a broken home, Sean Boswell (Lucas Black) is an outsider looking to make a name for himself on the illegal street racing circuit. When Sean is busted by the police for his high-speed exploits and given the option of either spending time behind bars or moving overseas to live with his no-nonsense, military man father who’s currently stationed in Tokyo, the young rebel packs his bags and sets his sights on Nippon. Though at first reluctant to adapt to the unfamiliar customs and foreign code of honor of his new home, Sean soon strikes up a friendship with American speed freak Twinkie (Bow Wow), a like-minded race fan who schools the inexperienced newcomer in the pulse-pounding world of drift-racing. Inadvertently challenging local champion and yakuza associate D.K. (The Drift King) his first time on the road, Sean is subsequently forced to work under expatriate Han (Sung Kang) to pay off his debt after failing to cross the finish line first. Taking note of the young American’s affinity for racing as he warmly welcomes him into his merry band of misfit drift-fanatics, Han slowly introduces Sean to the key principles of the popular new racing style. When Sean makes the potentially deadly mistake of falling for D.K.’s girlfriend Neela (Nathalie Kelley), he’ll need all the help he can get to face his most challenging race to date and take on the most notorious driver on the Tokyo drift scene in a hair-raising, hairpin-turn race where the winner truly takes all.

This (13th) time around, “007″ receives the usual call to come and visit “Mother” when another agent drops off a fake Faberge jeweled egg at the British embassy in East Berlin and is later killed at a traveling circus. Suspicions mount when the assistant manager of the circus Kamal (Louis Jourdan), outbids Bond for the real Faberge piece at Sotheby’s. Bond follows Kamal to India where the superspy thwarts many an ingenious attack and encounters the antiheroine of the title (Maud Adams), an international smuggler who runs the circus as a cover for her illegal operations. It does not take long to figure out that Orlov (Steven Berkoff), a decidedly rank Russian general is planning to raise enough money with the fake Faberges to detonate a nuclear bomb in Europe and then defeat NATO forces once and for all in conventional warfare.

A righteous police officer investigating the disappearance of a young girl comes into conflict with the unusual residents of a secluded Scottish isle in this unsettling, intelligent chiller. Brought to the island of Summerisle by an anonymous letter, Edward Woodward’s constable is surprised to discover that the island’s population suspiciously denies the missing girl’s very existence. Even more shocking, at least to the traditionally pious law office, the island is ruled by a libertarian society organized around pagan rituals. Repelled by the open acceptance of sexuality, nature worship, and even witchcraft, the officer takes an antagonistic attitude towards the people and their leader, an eccentric but charming English lord (Christopher Lee). The officer’s unease intensifies as he continues his investigation, slowly coming to fear that the girl’s disappearance may be linked in a particularly horrifying manner to an upcoming public festival. Anthony Shaffer’s meticulously crafted screenplay creates a thoroughly convincing alternative society, building tension through slow discovery and indirect suggestion and making the terrifying climax all the more effective. Performances are also perfectly tuned, with Woodward suitably priggish as the investigator and horror icon Lee delivering one of his most accomplished performances as Lord Summerisle. Little noticed during its original theatrical run due to studio edits and a limited release, the film’s intelligence and uncanny tone has since attracted a devoted cult following.

Her faith shaken by a family tragedy from which she was never quite able to fully recover, a professor of theology from Louisiana State University moonlighting as a debunker of unexplained religious phenomena finds herself faced with an apocalyptic series of events that seem to reflect the ten plagues of Exodus in director Stephen Hopkins’ Southern gothic chiller. The terrified citizens of Haven, Louisiana have been beset by swarms of locusts and watched as rivers turned to blood. As if that wasn’t enough to put the fear of God into any Bible-reading Christian, ominous rumors of a local swamp cult have left many of the small town citizens turning to prayer for fear that the end is finally nigh. Enter Katherine Winter (Hilary Swank), a skeptical myth-buster and renowned theology scholar with a special knack for spotting religious trickery. Though at first exceedingly confident that she will uncover a human component behind the otherworldly occurrences, Katherine quickly learns that just because one doesn’t believe in the supernatural doesn’t necessarily mean that it doesn’t exist.

In 1962, Calvin Webber (Christopher Walken) was a brilliant but somewhat paranoid scientist living with his Donna Reed-esque wife, Helen (Sissy Spacek), in Los Angeles. In the midst of the Cuban Missile Crisis, a plane crashed into the Webber’s yard. Mistaking the blast for “the big one,” the Webbers moved into their elaborate bomb shelter to wait out the half-life of radioactive fallout. In the shelter, now a sort of time capsule, Calvin and Helen conceived and raised their son Adam (played as an adult by Brendan Fraser). For 35 years, Adam was raised on Jackie Gleason, Perry Como, and stories about life on the surface. Calvin taught his son about science, baseball, and communists while Mom taught Adam about dancing, good manners, and charming young ladies. Just in time, too, as Adam is sent to the surface to gather supplies and find a wife, preferably a nice, non-mutant girl from Pasadena with which to repopulate the world. Once this “fish out of water” story is set up, the fish, Adam, is set adrift in a sea of supermarkets and adult bookstores, but is soon caught by Eve Rustikov (Alicia Silverstone). Completely lost above ground, Adam enlists Eve’s help to navigate his new world and find the supplies on his list. The literally sheltered Adam falls for this bitter, cynical, street-smart woman who grew up in a bleak Los Angeles with little use for love. Living with her gay roommate, Troy (Dave Foley), Eve has had her hopes chipped away by a long line of dead-end jobs and loser boyfriends. When the throwback Adam enters her life with his sunny disposition, seersucker jacket, and joy at seeing the sky, she can’t help but fall in love.

This offbeat comedy finds a rotund, daydreaming projectionist (Chuck McCann) who fantasizes that he is the super hero Captain Flash. He imagines his nemesis to be Renaldi (Rodney Dangerfield), whom the projectionist refers to as “the Bat.” Renaldi demands the lobby floor to be so clean he can eat off it. The film uses superimposition of older films, the first to employ such techniques. The projectionist imagines Rinaldi to be in league with the forces of evil like Hitler, Mussolini and space aliens. He is under the delusion that he must save a female co-worker (Ina Balin) from the clutches of the evil Bat. The projectionist summons such heroes as Errol Flynn, Gary Cooper and the US Marine Corp to save her from imagined danger. This is the first feature length film for director Harry Hurwitz, who also appears as an usher. This also marks the film debut for Rodney Dangerfield, who had recently changed his name from his given name of Jack Roy and opened a nightclub. The film premiered at the Rochester Film Festival in 1969. It has earned cult status over the years and is in the archives of the Museum Of Modern Art in New York.