Bovie Movie

Robert and Katherine Thorn seem to have it all. He is the US Ambassador to Italy and they want for nothing in their lives, except one thing: they do not have children. When Katharine has a stillborn child, Robert is approached by a priest at the hospital who suggest that he take a healthy newborn whose mother has just died in childbirth. Without telling his wife he agrees to to so but after relocating to London, strange events - and the ominous warnings of a priest - lead him to believe that the child he took from that Italian hospital is evil incarnate.

In AD 922, an important emissary who is banished from his homeland. The nomadic outcast comes across a band of Norse warriors who coerce him into joining them when they are summoned to fight mysterious creatures legendary for consuming every living thing in their path. Eventually surrounded by the frightening and ferocious foe, Ibn must conquer his personal fears and help battle the illusive invaders—who emerge out of the shroud of fog in the black of the night.

Tommy Lee Jones returns as United States Marshall Sam Gerard, the role that earned him an Academy Award, in this sequel to the 1993 blockbuster The Fugitive. Gerard has been assigned to escort a federal prisoner to a maximum security prison in Missouri. On the same flight is Mark Sheridan (Wesley Snipes), who has been arrested and charged with the murders of two Federal agents, though he insists he’s innocent. The plane is involved in an accident leading to a crash, and after helping to rescue some of the passengers, Sheridan escapes. The State Department informs Gerard that finding Sheridan and putting him back behind bars is a top priority, and Gerard sets out on his trail, with the very much uncalled-for assistance of eccentric FBI agent John Royce (Robert Downey Jr.). However, Gerard soon begins to wonder just how Sheridan became such an important man in the eyes of the government, while Sheridan is determined to find out who turned him in to the authorities. U.S. Marshals also features Joe Pantoliano, Daniel Roebuck, and Kate Nelligan.

Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.

A W. Somerset Maugham novel was the source for the fair-to-middling Greta Garbo vehicle The Painted Veil. In a situation comparable to the plotlines of most of her silent films, Garbo is lovelessly married to Herbert Marshall, but carries a flaming torch for George Brent. (Also harking back to Garbo’s silent days is the fact that neither one of the men in her life is particularly interesting!) Marshall, a brilliant physician, is compelled to go into the interior regions of China to quell a cholera epidemic. He knows that Garbo has been having an affair with politician Brent, and chivalrously gives her the choice of remaining with Brent or accompanying him. Fearing a scandal, Brent bids farewell to Garbo. Once they’re in the midst of the epidemic, Garbo tirelessly works by her husband’s side; eventually she falls in love with him for the first time. Seriously injured in a peasant uprising, Marshall hovers near death. Brent reappears, offering to take Garbo back with him. She refuses, electing to stay with her husband no matter what the future brings. Among the supporting players in The Painted Veil are Warner Oland and Keye Luke, one year away from their memorable pairing in Fox’s Charlie Chan films.

David Huxley is an American politician living in Hungary whom gets blackmailed by an unknown party after being videotaped having sex with his fiancée Tish and a local supermodel. Desperate to find the extortionists, David goes into the sordid Red Light district of Eastern Europe, only to end up kidnapped, leaving Tish to try to come up with a $5 million ransom on her own.

A simple-minded gardener named Chance has spent all his life in the Washington D.C. house of an old man. When the man dies, Chance is put out on the street with no knowledge of the world except what he has learned from television. After a run in with a limousine, he ends up a guest of a woman (Eve) and her husband Ben, an influential but sickly businessman. Now called Chauncey Gardner, Chance becomes friend and confidante to Ben, and an unlikely political insider.

Director Roger Donaldson teams up with star Kevin Costner for another political thriller (after their 1987 pairing, No Way Out), only this time with a film based on the actual events surrounding the Cuban missile crisis of 1962, taking place during the titular thirteen days wherein the U.S. and the Soviet Union nearly engaged in full-scale nuclear war. After President John F. Kennedy (Bruce Greenwood) is shown photographs from a spy plane detailing the presence of missiles in Cuba capable of obliterating massive areas of the U.S., he must immediately decide the most effective course of action for the country. With the aid of best friend and special assistant Kenny O’Donnell (Kevin Costner) and brother Robert (Steven Culp), the President must avoid a dire chain of events that could be dictated by General Curtis LeMay (Kevin Conway), who would rather take immediate action and invade Cuba. After initial reticence about leaking the information to the nation, President Kennedy eventually tells of the conflict, leading to widespread panic and a blockade of Cuba. With the aid of Robert McNamara (Dylan Baker) and Adlai Stevenson (Michael Fairman), the leaders must find a way to alleviate the tension of the situation. Thirteen Days also features Walter Adrian as Lyndon Johnson.