Bovie Movie

Five young British nuns are invited to move to a windy “palace”, former house of the concubines of an old general, in the top of a mountain in Mopu, Himalaya, to raise the convent of Saint Faith Order, a school for children and girls, and an infirmary for the local dwellers. Sister Clodagh (Deborah Kerr) is assigned as the superior sister, and her liaison with civilization is the rude government agent Mr. Dean (David Farrar). The lonely and exotic place and the presence of Mr. ‘Dean awake the innermost desires in the flesh of the sisters, and Sister Ruth (Kathleen Byron) becomes mad with the temptation.

Just before their wedding, Elizabeth Swann and Will Turner are arrested by Lord Cutler Beckett for helping the pirate Captain Jack Sparrow, but Cutler proposes a deal to Will: their freedom per Jack’s compass. Meanwhile, Jack is afraid of the sea, because he owes his soul to the evil Davy Jones, the Captain of the Flying Dutchmen. When Will meets Jack, the pirate proposes to exchange his compass by a key owned by Davy Jones. Will goes to the Flying Dutchman without knowing how dangerous and diabolic Davy Jones and his crew are.

Animal rights activists free a group of infected chimpanzees to horrifying results in this speculative sci-fi horror effort from Trainspotting director Danny Boyle. Waking from a coma in a deserted London hospital 28 days later, bicycle courier Jim (Cillian Murphy) takes to the deserted city streets in a state of mystified confusion. Joining forces with another group of survivors following a terrifying encounter in a seemingly abandoned church, Jim soon learns the truth behind the deserted streets and the menacing creatures that lurk in the shadows. It’s soon revealed that the chimpanzees had been harboring a deadly virus that sends its victims into a furious, murderous rage, and in the days following the initial exposure, the entire population was nearly wiped out due to the resulting homicidal rampage. Is there still a glimmer of hope for humanity — or has the deadly “rage” virus found its way to foreign shores and infected the entire planet?

Based on the novel by Hubert Selby Jr., this gritty drama concerns four people trapped by their addictions. Harry (Jared Leto), and his best friend Tyrone (Marlon Wayans) are impoverished heroin addicts living in Coney Island, NY, while Harry’s girlfriend Marion (Jennifer Connelly) is a fellow addict trying to distance herself from her wealthy father. Harry dreams of scoring a pound of smack, from which he could make enough money to open a clothing boutique with Marion, but so far he and his friends can barely scrape by supporting their own habits. Meanwhile, Harry’s mother Sara (Ellen Burstyn), who spends her days watching television, is told she has the opportunity to appear on her favorite game show; wanting to lose enough weight to fit into her favorite red dress, she visits a sleazy doctor who gives her a prescription for amphetamines. Soon Sara has a drug habit of her own that is spiraling out of control. Requiem for a Dream was directed by Darren Aronofsky, who also co-wrote the screenplay with Selby; it was Aronofsky’s second feature, following his acclaimed independent film Pi

This lavish big-budget epic was the pinnacle of a uniquely Italian subgenre, the historical hardcore gore/porn extravaganza. The star-studded cast, perhaps lured by the high-profile involvement of producer Bob Guccione and screenwriter Gore Vidal, includes such luminaries as John Gielgud, Peter O’Toole, and Helen Mirren. Director Tinto Brass, whose similar treatment of Nazi Germany in Salon Kitty won him the job, did his best with the mammoth enterprise, but numerous production problems and re-edits took their toll on the finished product. When Caligula works best, it works because of Malcolm McDowell, whose crazed portrayal of the title Emperor is the embodiment of villainous corruption. McDowell raises his performance level to match the gaudy spectacle around him, which led to charges of overacting, but there are moments when he is absolutely riveting. Some of the cast doesn’t fare as well, as O’Toole makes a particularly unsubtle Tiberius. The sex is graphic and steamy, particularly a feverish lesbian interlude between Penthouse Pets Lori Wagner and Marjorie Thorsen (using the pseudonym “Anneka di Lorenzo”), and the various carnival freaks used as atmosphere imbue the film with a grotesque, Fellini-like opulence. There are many memorable scenes and a magnificent score by Paul Clemente, but the heady brew of historical epic, hardcore sex, and gory violence proved overwhelming to many viewers. Still, Gore Vidal’s script is surprisingly accurate, and manages to be entertainingly vulgar while bringing a rather loathsome slice of human history to vivid life, warts and all. The more explicit scenes were directed by Bob Guccione and Giancarlo Lui, causing both Vidal and Brass to remove their names from the credits.

A descent into Hell is triggered when “Ex-Lord” Donald Brocklebank finds that he must leave Longleigh House for London to find a way to pay for the medical treatments for his wife Nancy. Alone, his over-protected, delusional, adult son, James, fancies himself in charge of the manor house with his terminally ill mother, and barricades the two of them into the house for a series of ever more panicked home treatments, mistakenly protecting her from the arrival of Nurse Mary and any outside help.

Adaptation of the fairy tale of the same name. Princess Aurora is cursed by the evil witch Maleficent - who declares that before Aurora reaches her 16th birthday she will die by a poisoned spinning-wheel. To try to prevent this, the king places her into hiding, in the care of three goodnatured - but not too bright - fairies.

Self-involved corporate raider Edward Lewis (Richard Gere) has recently split up with his girlfriend. Seeking directions to the Beverly Hills Hotel, he makes the acquaintance of free-spirited hooker Vivian Ward (Julia Roberts) and decides to put her on a 3,000-dollar retainer as his “date.” He Cinderellarizes her by bankrolling a full wardrobe and cosmetic makeover. Of course, the setup will be strictly platonic. A disarming modern-day fairy tale, Pretty Woman was the picture that made Julia Roberts a superstar. As charming as she is in her “giggling” sequences, Roberts’ best scene is her triumphant return to a posh Rodeo Drive shop where she’d been previously snubbed. Keeping Pretty Woman afloat throughout is the buoyant direction of Garry Marshall and the always welcome presence of Marshall’s stock company of actors, including Hector Elizondo as a stuffy but golden-hearted concierge. Pretty Woman began its life as a much darker story of prostitutes and homicidal drug dealers, but more box-office-savvy heads ultimately prevailed.