Bovie Movie

A few innocent women experience a nightmare before Christmas in this bloody thriller. Billy Lenz, a severely maladjusted child, finally snaps under years of brutal treatment by his family, killing and eating them in an explosion of violence on Christmas Eve. For years, the Lenz house stands vacant, but in time it’s purchased and renovated as the new home for a college sorority. A few days before Christmas, a handful of sorority sisters — Dana (Lacey Chabert), Melissa (Michelle Trachtenberg), Kelli (Katie Cassidy), and Heather (Mary Elizabeth Winstead) — are enjoying a quiet evening with their house mother, Barbara MacHenry (Andrea Martin), exchanging gifts and swapping stories before heading home for holiday break. While Barbara remembers the story of Billy’s crimes, the atmosphere is peaceful until the young women receive the first in a series of disturbing telephone calls. Before long, they learn that Billy has escaped after years in a mental institution, and has come back to the house where he grew up to once again spill blood for the Christmas season. Black Christmas is a remake of the 1974 horror film of the same name by director Bob Clark, who later made a less-threatening film about the Yuletide season, A Christmas Story; Andrea Martin, who plays the house mother, also appeared in the 1974 film as one of the sorority girls.

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.

Three brothers who would argue that crime does pay have a hard time getting their fair share of the proceeds in this witty action thriller from Australia. Dale Twentyman (Guy Pearce) and his brothers, Mal (Damien Richardson) and Shane (Joel Edgerton), are serving time together in prison for robbery. Dale is the brains and the cool head of the group, Mal is the eager-to-please nice guy, and Shane is something of a loose cannon. Dale and his siblings are eager to get out of jail, and their lawyer, Frank Malone (Robert Taylor), has pulled a deal that could pare some time off their sentences, though the arrangement is strictly off the books. Mick Kelly (Vince Colosimo) and Jack O’Riordan (Paul Sonkkila) are a pair of crooked police detectives who have arranged with Malone to give the Twentyman brothers day passes from jail in order to pull bank robberies, with the siblings’ share held in escrow until they’re released. Dale thinks something a bit off in this operation, and his suspicions are confirmed when Malone tells the brothers after they’re granted their early release that they won’t get their money until they pull one last job — an ambitious robbery at a Melbourne race track on the day of the nation’s biggest horse race. Dale is convinced he smells a rat — especially since he has good reason to suspect that Malone is having an affair with his wife, Carol (Rachel Griffiths). The Hard Word marked the directorial debut for writer/director Scott Roberts.

Douglas McGrath’s Infamous represents the second major biopic about the avant-garde belletrist Truman Capote to be released within a year. It thus tells roughly the same story as Bennett Miller’s earlier Capote, recounting the events that belied the writer’s six-year authorship of the seminal “nonfiction novel” In Cold Blood. The story opens with Capote (Toby Jones) visiting the site of the 1959 Clutter family homicide, on a Kansas research trip, accompanied by his close friend and colleague, author Harper Lee (Sandra Bullock). As Capote settles into the community, McGrath uses the preponderance of screen time to explore the emotional tapestry of Capote’s increasingly risky emotional attachment to one of the two murderers, Perry Edward Smith (Daniel Craig), with whom he senses more than a few common bonds. McGrath weaves a decidedly bittersweet tale, contrasting the optimism and devil-may-care, “conquer all” attitude of Capote in his early years with a seemingly endless string of poor choices in the writer’s later years, from addictions to drink and pills, to a failure to maintain healthy output as a writer, to poorly chosen romantic and sexual entanglements. Most significantly, however, McGrath reveals how the relationship with Smith virtually destroyed Capote as an artist and a human being, by inducing him to sell out on all levels to satisfy his lust for accomplishment and notoriety.

Bobby Long (John Travolta) is a washed up former literature professor with a voracious drinking habit. He lives in a rundown house in New Orleans with Lawson Pines (Gabriel Macht of The Recruit), his former star pupil, also an alcoholic. Lawson is allegedly writing a novel about Bobby. Their depressive little corner of the world is disrupted when Lorraine, the beloved eccentric singer who owns their house, dies. Her teenage daughter, Pursy (Scarlett Johansson), who hasn’t seen her mother in years, arrives in town too late for the funeral, and crashes at the house. Afraid of being thrown out on the street, Bobby convinces Lawson to tell Pursy that the house has been left to all three of them. Pursy, having little else to do, decides to move in, and starts cleaning up the place, making it her own. Lawson is involved with Georgianna (Deborah Kara Unger), who works at the local bar, but he quickly develops a crush on the comely Pursy. The cantankerous Bobby seems determined to drive the girl away. As Pursy settles into the diverse little community, all of Lorraine’s old friends tell her how much she looks like her mother, and she begins to uncover some startling truths about her family history. A Love Song for Bobby Long is based on the novel Off Magazine Street, by Ronald Everett Capps. It was adapted for the screen and directed by Shainee Gabel, who co-directed the documentary Anthem.

The legendary Mexican hero returns to the screen in this swashbuckling sequel to the 1998 box-office hit The Mask of Zorro. It’s 1850, and the people of California, eager to improve their difficult lot in life, have launched a campaign to become part of the United States. Don Alejandro de la Vega (Antonio Banderas) has become aware of a plot by moneyed Europeans to block the campaign for statehood through nefarious means, and it looks as if Alejandro’s heroic alter ego, Zorro, may have to return to duty. However, Alejandro’s wife, Elena (Catherine Zeta-Jones), has grown weary of his secret life, and she demands that he choose between his family and his clandestine career as a champion of the people. This leads to a rift between Alejandro and Elena, and the couple separates, with Alejandro moving out while Elena continues to care for their son, Joaquin (Adrian Alonso). A few months later, Alejandro finds that Elena is already being wooed by Armand (Rufus Sewell), a suave French nobleman who wants her hand in marriage. However, Alejandro also learns that Armand is actually part of a plot to prevent California from attaining statehood by tampering with an upcoming election; meanwhile, there may be more to Elena’s involvement with Armand than romantic courtship. Zorro must come to the rescue of the people of California and perhaps his beloved Elena as well before they both fall into dangerous hands. The Legend of Zorro was directed by Martin Campbell, who performed the same duties on The Mask of Zorro.

Jules Verne’s famous novel of a daring man of science who takes on the greatest voyage in history is once again adapted for the big screen in this adventure comedy. In 1872, eccentric British inventor Phileas Fogg (Steve Coogan) has come up with any number of gadgets to help people travel with greater speed and ease, and is working on plans for a flying machine. In a lively discussion with Lord Kelvin (Jim Broadbent), the head of the Royal Academy of Science, Fogg states his belief that it’s possible for someone to travel around the globe in a mere 80 days. Kelvin, who makes no secret of his belief that Fogg is a crackpot, challenges him to do just that, and adds a wager to the bargain to make things interesting: if Fogg can’t circumnavigate the globe in 80 days, he’ll give up inventing forever. Fogg takes the challenge, and teams up with his manservant, a former acrobat named Passepartout (Jackie Chan), and lovely navigator Monique (C?cile De France) to make the epic voyage — traveling by train, boat, balloon, horseback, or any other means at their disposal. However, Fogg and his companions are dogged along the way by the false accusation that the inventor took part in a bank robbery, forcing him to not only complete the journey but clear his name as well. Like the blockbuster 1956 adaptation of Around the World in 80 Days, this film features a number of major stars in cameo appearances and supporting roles as Fogg makes his way around the globe, including Arnold Schwarzenegger, John Cleese, Luke Wilson, Owen Wilson, Kathy Bates, Sammo Hung, Rob Schneider, Richard Branson, Mark Addy, and more.

The true story of one woman’s effort to keep her family afloat under difficult circumstances comes to the screen in this bittersweet comedy drama. Evelyn Ryan (Julianne Moore) was a woman of intelligence, talent, and pluck living in the small town of Defiance, OH, in the 1950s. Evelyn was married to Kelly Ryan (Woody Harrelson), a man who gave her ten children but not much else; Kelly had a severe drinking problem, struggled to hold on to a job, and tended to spend his money as soon as he earned it. It was seemingly up to Evelyn to support the family, but with ten kids to look after, taking a job outside the home hardly seemed practical. But the resourceful Evelyn discovered a way to bring some extra money into the household — at a time when a number of companies held contests to find new advertising jingles for their products, Evelyn had a genius for coming up with slogans and winning contests, and for the better part of a decade Evelyn kept food on the table and a roof over her head by dreaming up jingles, tag lines, and ad headlines and winning contests with her handiwork, often selling the merchandise she won to pay the bills. The Prize Winner of Defiance, Ohio was based on the best-selling memoir by Terry Ryan, who was the sixth of Evelyn Ryan’s ten kids.

Both a classic movie for kids and a remarkable portrait of childhood, E.T. is a sci-fi adventure that captures that strange moment in youth when the world is a place of mysterious possibilities (some wonderful, some awful), and the universe seems somehow separate from the one inhabited by grown-ups. Henry Thomas plays Elliott, a young boy living with his single mother (Dee Wallace), his older brother Michael (Robert MacNaughton), and his younger sister Gertie (Drew Barrymore). Elliott often seems lonely and out of sorts, lost in his own world. One day, while looking for something in the back yard, he senses something mysterious in the woods watching him. And he’s right: an alien spacecraft on a scientific mission mistakenly left behind an aging botanist who isn’t sure how to get home. Eventually Elliott puts his fears aside and makes contact with the “little squashy guy,” perhaps the least threatening alien invader ever to hit a movie screen. As Elliott tries to keep the alien under wraps and help him figure out a way to get home, he discovers that the creature can communicate with him telepathically. Soon they begin to learn from each other, and Elliott becomes braver and less threatened by life. E.T. rigs up a communication device from junk he finds around the house, but no one knows if he’ll be rescued before a group of government scientists gets hold of him. In 2002, Steven Spielberg re-released E.T. The Extra-Terrestrial in a revised edition, with several deleted scenes restored and digitally refurbished special effects.

One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick’s caf? has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick’s great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick’s true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she’s renewed her love for Rick, she wants to stay behind in Casablanca. “You must do the thinking for both of us,” she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion.