Bovie Movie

In a distant, but not so unrealistic future, where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess. Mesmerized with trinkets of earth’s history and show tunes, WALL-E is alone on Earth except for a sprightly pet cockroach. One day, Eve, a sleek (and dangerous) reconnaissance robot, is sent to earth to find proof that life is once again sustainable…

The horrifying yet delicious and chewy Gingerdead Man causes murder and mayhem on the set of a horrible low budget movie set. It will take the determination of the studio’s young new owner to save both his company and well as the lives of his young new friends. Including a terminally ill young boy whose final wish it was to meet the studios stars - The Tiny Terrors.

When a zombie plague infects Camp Special Dude, a dude ranch for the mentally handicapped, a ragtag band of campers and counselors struggles to survive the night. Led by the indifferent, nun-chuck-wielding head counselor, Mac, and his wheelchair-bound sister Dale, the unlikely heroes fight their way off the mountain as, one by one, they’re picked off and join the ranks of the walking dead. It’s a campy stampede of blood, boobs and gore as some “very special” people show that they can kick some serious undead ass.

A political satire set in Turaqistan, a country occupied by an American private corporation run by a former US Vice-President (Aykroyd). In an effort to monopolize the opportunities the war-torn nation offers, the corporation’s CEO hires a troubled hit man (Cusack), to kill a Middle East oil minister. Now, struggling with his own growing demons, the assassin must pose as the corporation’s Trade Show Producer in order to pull off this latest hit, while maintaining his cover by organizing the high-profile wedding of Yonica Babyyeah (Duff) an outrageous Middle Eastern pop star, and keeping a sexy left wing reporter (Tomei) in check.

Three stars team up for this unusual look at America’s role in the war against Iraq. In 1991, as the Gulf War winds to a close, three American servicemen find themselves happy to have achieved victory but wondering about the ultimate importance of what they’ve done (especially since Saddam Hussein is still in power). Major Archie Gates (George Clooney) is a decorated Vietnam veteran and special forces officer with two weeks to go before he retires; Sgt. Troy Barlow (Mark Wahlberg) has a new baby at home; and Chief Elgin (Ice Cube) is probably just going to end up back in Detroit. So when one of them comes across a map that seems to point out where Saddam’s forces have stashed a large cache of gold they stole from Kuwait, they decide to follow the trail and take some of the war booty for themselves. However, the deeper they journey into Iraq, the more they see of the consequences of America’s policies in the Middle East. Although President George Bush and the American military urged Iraqi citizens to rise up against Saddam Hussein, and pledged their support to a people’s movement against the leader, Iraqis found that when they took to the streets against Saddam, the United States did not back them up, and the loss of Iraqi lives was fearsome. When Gates, Barlow and Elgin become aware of what’s happening, they’re torn between their desire to grab the fortune they came for and the demands of their conscience to help the people they came to liberate. Three Kings was directed by David O. Russell and marked a significant change of direction after his dark-humored relationship comedies, Spanking the Monkey and Flirting with Disaster.

Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman’s turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he’s grown cynical and is convinced that he has no reason to go on. Lester’s relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she’s in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she’s unattractive. Her problems aren’t helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn’t the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.

I think I can safely consider myself to be a fairly open-minded and tolerant horror fan, but there’s one thing I honestly can’t stand: horror comedies that are not funny, nor gory. And unfortunately we happen to see a lot of those lately, especially in the sub genre of ‘zombie movies’ ever since a British instant classic called “Shaun of the Dead” successfully mixed humor with splatter. By now everybody seems to think they’re capable of making a horror comedy and this naturally results in a huge pile of stinking, inept, insufferable and redundant straight-to-video crap. All these untalented filmmakers don’t seem to realize that “Shaun of the Dead” was actually the exception that confirmed the rule: zombies, people coming back from the dead to hunt the flesh of the living are no laughing matter. Like the case in “The Mad”, there’s absolutely nothing even remotely funny about family members getting killed by walking corpses that died after consuming beef infected with the mad cow disease. People will not start to make jokes or have discussions about the definition of a zombie moments after their beloved partners have been reduced to a pile of blood and intestines on the floor! “The Mad” really tries to be hilarious, with its absurd & stereotypical character drawings and clichéd father-daughter-stepmother-punk boyfriend relationship jokes, but it miserably fails. The other elements to create comedy are either totally pathetic (spontaneously attacking hamburgers) or utterly derivative (inbred farmers and banjo music). “The Mad” can’t even distinguish itself from the majority of lame-ass low budget horror junk with a good amount of nauseating splatter, as the make-up effects and massacres are nothing exceptional at all. It’s not a gore-soaked bloodbath and we’re only treated to a couple of mundane zombie-attacks and relatively bloodless annihilations. And then there’s Billy Zane, the “famous” name parading the DVD-cover; hoping to attract more viewers with it. To my surprise I encountered a lot of reviews claiming that his performance was awesome but I, on the other hand, have rarely seen someone acting so uninterested and hammy, and no, I don’t misinterpreted the fact his performance was supposed to be tongue-in-cheek. Zane more than obviously wasn’t interested in starring in this piece of junk and he can’t hide it. For crying out loud, Billy! Maybe you desperately needed the money, but if you really don’t want to star in garbage like this, then don’t sign the contract! “The Mad” is a terrible film, not funny, not horrific, not gruesome, nothing to recommend.

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.

Spain. Gal has retired from the gangster life, and is sunning himself placidly beside the pool at his villa when a boulder comes crashing by, barely missing him. Soon, he and his pal Aitch, together with their wives Deedee and Jackie, are being threatened by a human boulder, Don Logan. Logan wants Gal for a high stakes vault break-in in London (masterminded by the cool and suave Teddy Bass), and he will not take no for an answer. Nevertheless, that’s exactly the answer Gal keeps giving him, even as Don gets more and more threatening. Meanwhile, Gal is plagued by dreams of a menacing, hairy beast. Just how far will Don (and Gal) go in this battle of wills? And what of Enrique, the pool boy?

An experiment in genetic engineering turns harmless sheep into blood-thirsty killers that terrorize a sprawling New Zealand farm.