Bovie Movie

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

Andy at the age of 40 still hasn’t had sex. He lets his secret slip at a poker game with his buds from work. After the revealing all his friends are on a mission to help get him laid. Along the way Andy meets a nice mom: Trish who fall head over heels for each other.

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.

The inner-workings of a corrupt Las Vegas casino are exposed in Martin Scorsese’s story of crime and punishment. The film chronicles the lives and times of three characters: “Ace” Rothstein (Robert De Niro), a bookmaking wizard; Nicky Santoro (Joe Pesci), a Mafia underboss and longtime best friend to Ace; and Ginger McKenna (Sharon Stone, in a role she was born to play), a leggy ex-prostitute with a fondness for jewelry and a penchant for playing the field. Ace plays by the rules (albeit Vegas rules, which, as he reminds the audience in voiceover, would make him a criminal in any other state), while Nicky and Ginger lie, cheat, and steal their respective ways to the top. The film’s first hour and a half details their rise to power, while the second half follows their downfall as the FBI, corrupt government officials, and angry mob bosses pick apart their Camelot piece by piece.

Writer/director Paul Thomas Anderson followed his critical and commercial breakthrough Boogie Nights with this wildly ambitious story of lives intertwining on a single day in California’s San Fernando Valley. Earl Partridge (Jason Robards), a successful producer of television game shows, left his wife when she contracted cancer to marry the younger and more beautiful Linda (Julianne Moore). Now, Earl has cancer himself, and Linda spends her day fetching medicines and trying to deal with the imminent death of her husband, whom she has only now come to love. Earl asks his nurse Phil (Philip Seymour Hoffman) to arrange a meeting with his estranged son, Frank Mackey (Tom Cruise), known for his self-help program “Seduce and Destroy,” in which he preaches the importance of male sexual prowess; he cared for his mother after Earl left her, and he has no desire to see his father again. Earl’s best-known show is hosted by Jimmy Gator (Philip Baker Hall), who also learns that he is dying. Jimmy’s show pits bright adults against unusually smart kids; one of Jimmy’s child contestants, Stanley (Jeremy Blackman), arrives late for a taping after being left stranded by his father Rick (Michael Bowen), who is supported by his more successful son. Meanwhile, Donnie Smith (William H. Macy), who was a champ on Jimmy’s show as a child, is not having as much luck as an adult; he’s just lost his job and needs to pay for some expensive dental work. Jimmy wants to reconcile with his estranged and emotionally fragile daughter Claudia (Melora Walters), who despises him and who will become involved with well-meaning police officer Jim Kurring (John C. Reilly), who has been desperately lonely since his divorce three years ago. Magnolia reunites much of the cast and crew of Boogie Nights and features eight original songs by singer/songwriter Aimee Mann and a musical score by Jon Brion.

At the beginning of Interstate 60, Neal Oliver (James Mardsen) has more questions about his future than answers. Though he would rather pursue a career in art, Neal debates whether or not he should set his goals towards a law degree, as his father would greatly prefer. He has a girlfriend, but he wonders if he should search for the mysterious woman (Amy Smart) who visits his nightly dreams and inspires his artwork. By the time his 23rd birthday roles around, Neal is no closer to choosing his life’s path. He feels empty and unsatisfied, despite lavish birthday gifts, and wishes only for clarity as he blows out the candles on his cake. Rather than instant answers, Neal is given the opportunity to take a journey on a highway that doesn’t exist on any map; a highway where the past, present, and future converge. Alongside him is One Wish Grant (Gary Oldman), the immortal offspring of a leprechaun and Cheyenne Indian, who has the unique ability to grant wishes to those he believes deserve them. Thus begins Neal’s surreal road trip through the uncharted territories of his own potential destiny. Interstate 60 features a stellar cast with supporting performances and cameos from Kurt Russell, Michael J. Fox, Liv Tyler, and Christopher Lloyd. Bob Gale, co-writer/producer of Used Cars, I Wanna Hold Your Hand, and, most notably, the Back to the Future trilogy, directs.

The final work of legendary director Stanley Kubrick, who died within a week of completing the edit, stars Tom Cruise and Nicole Kidman, at the time Hollywood’s most bankable celebrity couple, and was shot on a open-ended schedule (finally totaling over 400 days), with closed sets in London standing in for New York City. Cruise and Kidman play William and Alice Harford, a physician and a gallery manager who are wealthy, successful, and travel in a sophisticated social circle; however, a certain amount of decadence crosses their paths on occasion, and a visit to a formal-dress party leads them into sexual temptation when William is drafted into helping a beautiful girl who has overdosed on drugs while Alice is charmed by a man bent on seduction. While neither William and Alice act on their adulterous impulses, once the issue has been brought into the open, it begins a dangerous season of erotic gamesmanship for the couple, with William in particular openly confronting his desire for new sexual experiences. What didn’t make the final cut of Eyes Wide Shut may have been as fascinating as what finally appeared on screen: Harvey Keitel was replaced almost immediately by Sydney Pollack, while Jennifer Jason Leigh was replaced by Marie Richardson after she had shot all her scenes and left town.

Six London school-leavers attempt to make it in the world, balancing the challenge of trying to make a name for themselves in the music industry against the pressures and tragedies of everyday life.

The Cooler is Bernie Lootz, and THE COOLER is a love story about the changing fortunes of this down-at-heels loser who has made a career out of spreading his virulent bad luck on the floor of Las Vegas’ aging Shangri-La casino. When Bernie falls for a gorgeous cocktail waitress his bad luck is thrown into reverse.

A poetic guitarist Eric Draven is brought back to life by a crow a year after he and his fiancée are murdered. The crow guides him through the land of the living, and leads him to his killers: knife thrower Tin-tin, drugetic Funboy, car buff T-Bird, and the unsophisticated Skank. One by one, Eric gives these thugs a taste of their own medicine. However their leader Top-Dollar, a world-class crime lord who will dispatch his enemies with a Japanese sword and joke about it later, will soon learn the legend of the crow and the secret to the vigilante’s invincibility.