Bovie Movie

Seth Brundle, a brilliant but eccentric scientist attempts to woo investigative journalist Veronica Quaife by offering her a scoop on his latest research in the field of matter transportation, which against all the expectations of the scientific establishment have proved successful. Up to a point. Brundle thinks he has ironed out the last problem when he successfully transports a living creature, but when he attempts to teleport himself a fly enters one of the transmission booths, and Brundle finds he is a changed man. This Science-Gone-Mad film is the source of the quotable quote “Be afraid. Be very afraid.”

The Eisner Award-winning comic series Sin City comes to life in this live-action feature adaptation from director Robert Rodriguez and creator Frank Miller. Interweaving multiple storylines from the series’ history, this violent crime noir paints the picture of the ultimate town without pity through the eyes of its roughest characters. There’s the street thug Marv (Mickey Rourke), whose desperate quest to find the killer of a prostitute named Goldie (Jaime King) will lead him to the foulest edges of town. Inhabiting many of those areas is Dwight (Clive Owen), a photographer in league with the sordid ladies of Sin City, headed by Gail (Rosario Dawson), who opens up a mess of trouble after tangling with a corrupt cop by the name of Jackie Boy (Benicio Del Toro). Finally, there’s Hartigan (Bruce Willis), an ex-cop with a heart problem who’s hell-bent on protecting a stripper named Nancy (Jessica Alba). Featuring a who’s who supporting cast that includes Elijah Wood, Brittany Murphy, Devon Aoki, and Nick Stahl, Sin City promises to be one of the most direct translations from page to screen of a comic series, with shots and dialogue adapted straight from the original comic’s panels. Rodriguez quit the Director’s Guild when they refused to let Frank Miller co-direct the film, a deal hashed out after the two collaborators developed and shot the opening scene utilizing a green-screen process to harness the stark, black-and-white look of the books as a litmus test for the rest of the production. Quentin Tarantino was brought in and reportedly paid one dollar to direct an extended scene between Del Toro and Owen that amounts to one issue of The Big Fat Kill miniseries.

In this exploration of our violent society and how depictions of violence reflect and shape our culture, a middle-class housewife Anna tells the story of how she and her husband George and their 10-year-old son Georgie submitted both physically and mentally to the torture, violence, and death foisted upon them by two young, unexpected, white-gloved visitors at their weekend vacation retreat near a lake.

When Mona’s key won’t fit in her Yugo, she tries it in her son’s; when it works, she borrows his car. The brakes fail; she goes through the guard rail, into the river, and drowns. When police chief Rash learns that the brake lines were cut, he looks for a murderer. Suspect one: Mona’s dim son Jeff, whom she constantly denigrated. Suspect two: her husband Phil, whom she constantly belittled and who’s having an affair with Rona, a waitress with a secret of her own. Suspect three: Jeff’s landscape partner Bobby, who wants Jeff out, has yelled at Mona that he’d like to rip out her ovaries, and who is soon to be Rash’s son-in-law. Can Rash find the killer and keep Bobby out of jail?

A bored motel clerk and his buddies go for a little joy ride in a woman’s car. They don’t realize until it is too late that she is a paid assassin and that her latest victim is in the trunk. Thus begins the clerk’s descent into a shadowy world of lies and murder.

Two American students are on a walking tour of England and are attacked by a Werewolf. One is killed, the other is mauled. The Werewolf is killed, but reverts to it’s human form, and the townspeople are able to deny it’s existence. The surviving student begins to have nightmares of hunting on 4 feet at first, but then finds that his friend and other recent victims appear to him, demanding that he find a way to die to release them from their curse, being trapped between worlds because of their unnatural death.

Late at night, in an unnamed U.S. city, a solitary man sits at a bus stop. A pregnant woman runs by, pursued by a man with a gun. With reluctance, the man at the bus stop rescues her and assists with the baby’s delivery, while additional pursuers fire at them, including the gang’s particularly nasty leader, an intuitive man named Hertz. Our hero, known only as Smith, determines to save the child and find out why Hertz wants the baby dead. At a local bordello, he tries to employ a lactating hooker to watch the child, but things quickly escalate, and this makeshift family is soon on the run. Heavy metal music calms the baby. Why? A laboratory, a gun factory, and a presidential campaign all figure in Smith’s search for the child’s ultimate safety.

Five friends go up to a cabin in the woods where they find unspeakable evil lurking in the forest. They find the Necronomicon and the taped translation of the text. Once the tape is played, the evil is released. One by one, the teens become deadly zombies. With only one remaining, it is up to him to survive the night and battle the evil dead.

Lee Holloway is a smart, quirky woman in her twenties who returns to her hometown in Florida after a brief stay in a mental hospital. In search of relief from herself and her oppressive childhood environment, she starts to date a nerdy friend from high school and takes a job as a secretary in a local law firm, soon developing an obsessive crush on her older boss, Mr. Grey. Through their increasingly bizarre relationship, Lee follows her deepest longings to the heights of masochism and finally to a place of self-affirmation.

A young man gets a crash course in the madness of war in this fact-based drama from director Sam Mendes. Anthony “Swoff” Swofford (Jake Gyllenhaal) decides to join the Marines, just like his father and his father before him, and signs on just in time to be sent to Iraq to fight in the Gulf War in 1991. After experiencing the rigors of boot camp, Swofford and his pal Troy (Peter Sarsgaard) are trained to be snipers, and under the leadership of Sgt. Sykes (Jamie Foxx) and Lt. Col. Kazinski (Chris Cooper), the two land in the middle of a desert where they’re up against an enemy they can’t always see under a blazing sun with hours of boredom punctuated by moments of sheer terror. Swofford, Troy, and their fellow soldiers rely on the wits, their sense of humor, and their friendship of their brothers in arms to deal with a situation that doesn’t much resemble what they saw on television at home. Jarhead was based on the memoirs of the real-life Anthony Swofford, who did serve as a sniper in the 1991 Gulf War; the title comes from military slang for a Marine enlistee.