Bovie Movie

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.

Two dumb soda jerks dream of writing radio mysteries. When they try to pitch an idea at a radio station, they end up in the middle of a real murder when the station owner is killed during a broadcast.

After surviving a brutal car wreck, commercial director James Ballard finds himself slowly drawn to a mysterious subculture of people who have transformed automobile accidents into erotic events. Like the J.G. Ballard novel that inspired it, David Cronenberg’s study of the sexual dimension of man’s relationship to technology was a magnet for controversy, drawing a NC-17 rating and criticism from several sources, including studio owner Ted Turner, who attempted to prevent the film’s American release. But though some have leveled charges of pornography, James’ descent into this fetishistic underworld is approached with cold, scientific detachment. Characters like Vaughn, the charismatic group leader who stages recreations of celebrity car crashes, seem more like driven researchers than sexual renegades, which is undoubtedly part of the film’s point. This impression is reinforced by the pristine cinematography by Peter Suschitzsky, which proves particularly haunting during a crucial accident scene, and Howard Shore’s superb score. Far from exploitative, Crash in fact proves less transgressive than the original novel, but is still undoubtedly not for all tastes.

An idyllic wildlife cruise disintegrates into terror when a party of tourists are stalked by a massive man-eating crocodile. Pete McKell, a cynical American travel writer, joins a disparate group of holiday-makers on a river cruise through the waters of Kakadu National Park. Initially Pete clashes with their tour captain, Kate, a feisty young woman who assumes he is just another ‘city-slicker’ in search of a quick thrill. After an uneventful day cruising the river, Kate is reluctantly persuaded to steer their boat into unexplored territory. They discover a secluded lake but terror strikes when their craft receives a powerful blow from beneath the murky depths and begins to sink. With little choice, she beaches the vessel on the closest dry land -a tiny mud island. With a rising tide and only half an hour of daylight left, fear grips the group as they realize they are trapped in the lair of a ‘rogue’ crocodile, governed only by its need to hunt and kill. Begrudgingly, Pete and Kate join forces to keep hysteria at bay and in the process start to see beyond their initial impressions. Their first attempt to escape fails, but then Pete has an idea - they must trap the crocodile to enable the group to flee to the other side of the island whilst Kate swims for help. Pete volunteers to stand guard, but without warning, the beast breaks free and targets Kate who fails to resurface. As darkness descends and the muddy waters rise, a terrifying struggle ensues with only one probable outcome death.

A New Orleans detective is leading an investigation into a killer who is raping and murdering women. His enquiries lead him into the seedy side of town where he is no stranger off-duty. All this contrasts with his home life as a single parent with two young girls. Then on the case he meets rape counsellor Beryl Thibodeaux with whom a relationship possibly offering some normalcy starts to develop.

Film adaptation of street tough Jim Carroll’s epistle about his kaleidoscopic free fall into the harrowing world of drug addiction. As a member of a seemingly unbeatable high school basketball squad, Jim’s life centers around the basketball court and the court becomes a metaphor for the world in his mind. A best friend who is dying of leukemia, a coach (”Swifty”) who takes unacceptable liberties with the boys on his team, teenage sexual angst, and an unhealthy appetite for heroin — all of these begin to encroach on young Jim’s dream of becoming a basketball star. Soon, the dark streets of New York become a refuge from his mother’s mounting concern for her son. He can’t go home and his only escape from the reality of the streets is heroin for which he steals, robs and prostitutes himself. Only with the help of Reggie, an older neighborhood friend with whom Jim “picked up a game” now and then, is he able to begin the long journey back to sanity.

In 1989, Nino Brown, a small time drug dealer, is convinced by one of his fellow thugs that the wave of the future is in the cocaine derivative, crack. Brown sees potential in crack and sets out to establish himself as chief kingpin by killing off his rivals and even going as far as to take over a whole apartment complex. Out to stop him are undercover cops Scottie Appleton and Nick Paretti. Appleton especially wants to get Nino because of the fact that he murdered Scottie’s mother as part of a gang initiaton. Also involved is Pookie, a former crackhead who wants to bring down Nino as well.

While pursuing a suspect one night, Chicago Police officer Sharon Pogue (Jennifer Lopez) nearly becomes the victim of a fatal ambush until a mysterious stranger, Catch (Jim Caviezel) intervenes, disarms the assassin and saves Sharon’s life. Is it a stroke of luck? A twist of fate? Or just a concerned citizen who happened to pass by at the right time and wasn’t afraid to get involved? Maybe, But Sharon and Catch have met once before. As the two fall in love, they discover the truth about each other and are forced to deal with the secrets from their past.

The comedy trio known as Lonely Island attempt their first feature-length comedy with Hot Rod. Andy Samberg stars as Rod Kimble, an inept would-be stuntman who believes his dad worked for daredevil Evel Knievel. His stepfather abuses him at every opportunity, but Rod keeps attempting tricks on his moped. After the stepfather becomes very ill, Rod gets the brilliant idea to attempt a stunt more dangerous that Knievel ever considered in order to raise the money to cure him. His master plan being that, after the stepfather improves, Rod will finally get his revenge and beat him in a fight.

Nicolas Cage and Laura Dern play a pair of lovers on the run in David Lynch’s surrealist road movie Wild at Heart. Cage’s Sailor Ripley is a violent ex-convict with an Elvis Presley fixation who falls in love with Dern’s Lula Pace Fortune, the daughter of a rich, but mentally unstable, Southern belle named Marietta (Diane Ladd, Dern’s real-life mother). Just after Sailor is released from prison, where he was jailed for brutally killing one of Marietta’s thugs, he and Lula take off on a wild cross-country trip, pursued by his parole officer, her mother, criminals, bounty hunters, and detectives. Along the way, Sailor and Lula have a lot of sex, share their pasts, share their respective obsessions for Elvis and The Wizard of Oz, and meet a lot of bizarre characters, including a seedy ex-marine (Willem Dafoe) who persuades Sailor to participate in a bank robbery.