Bovie Movie

The third of John Woo’s American-made feature films, Face/Off stars John Travolta as Sean Archer, an FBI agent obsessed with capturing Castor Troy (Nicolas Cage), a criminal genius who years before killed Archer’s son while trying to assassinate the agent. Archer’s single-minded pursuit of Troy has caused serious harm to his marriage, but Archer thinks the light may have appeared at the end of the tunnel when a seriously wounded Troy is captured in a bloody shootout. However, it turns out that Troy has planted a time bomb, with a biological payload that could destroy the entire city of Los Angeles — and Troy isn’t about to say where it is. The only other person who knows the bomb’s location is Troy’s brother, Pollux (Alessandro Nivola), who is no more helpful than Castor. FBI scientists hatch a plan: they have developed an experimental surgery which would allow them to graft Troy’s face temporarily on Archer’s head and allow him to question Pollux as if he were his brother. But after Archer has taken Troy’s face, Troy regains consciousness and forces the doctors to give him Archer’s face. Now the criminal mastermind has the FBI at his disposal, and the lawman is underground with few places to turn. Along with Woo’s usual elaborately choreographed action scenes, Face/Off features a number of notable supporting performances, including Joan Allen as Archer’s wife, Colm Feore and C.C.H. Pounder as FBI scientists, and Gina Gershon as Troy’s loyal but long-suffering girlfriend.

Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman’s turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he’s grown cynical and is convinced that he has no reason to go on. Lester’s relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she’s in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she’s unattractive. Her problems aren’t helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn’t the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.

A woman meets her future in-laws and discovers they don’t much care for her in this comedy from writer and director Thomas Bezucha. Everett Stone (Dermot Mulroney) is a successful young businessman who is dating Meredith Morton (Sarah Jessica Parker), and has asked her to spend Christmas with his family, with plans to ask his mother Sybil (Diane Keaton) for the titular family wedding band and propose to Meredith on Christmas. Meredith is more than a bit nervous about meeting Everett’s folks, and things only get worse when they arrive — Meredith is by her nature straight-laced and a bit uptight around strangers, while Sybil and family patriarch Kelly (Craig T. Nelson) are free-thinkers who, except for Everett, have raised a family of cheerfully rebellious children, most notably younger daughter Amy (Rachel McAdams), older brother Ben (Luke Wilson), and adopted sibling Thad (Tyrone Giordano, who is both deaf and gay.
Meredith and the Stone family do not get along well at first, especially Sybil, who is appalled at the prospect of Everett giving Meredith the family’s heirloom wedding ring; in dire need of moral support, Meredith asks her younger sister, Julie (Claire Danes), to join her for Christmas with the Stones. However, the plan runs into a snag when Everett’s head is turned by pretty Julie, and Meredith finds herself on the receiving end of attention from slobby Ben.

The cynical son of an upper-class New York family bedeviled by booze, pills and mental illness strikes out on his own in this caustic, darkly comic drama. Igby Slocomb (Kieran Culkin) and his older brother, Oliver (Ryan Phillippe), are are in the process of killing their mother, Mimi (Susan Sarandon). Flashbacks delineate Igby’s troubled childhood: Speed-freak Mimi and her depressed husband, Jason (Bill Pullman), snipe at each other endlessly until Jason attempts suicide before Igby’s very eyes and takes up residence in a mental hospital. Igby grows into a rebellious youth, gets kicked out of several boarding schools and ends up in a hellish military academy. After one failed escape attempt, he heads to New York City and hides out in the apartment of Rachel (Amanda Peet), the heroin-addled mistress of his godfather, D.H. (Jeff Goldblum). Oliver locates the young scoundrel and informs him that Mimi is suffering from cancer. Unperturbed, Igby continues his slacker existence — and his romance with Sookie (Claire Danes), a hipper-than-thou undergraduate who finds herself torn between Igby and Oliver. As Igby gets drawn further into the mind games and hypocrisy of the adult world, his already jaded outlook grows even darker. He takes to dealing smack and hanging out with a cross-dressing performance “artist” (Jared Harris). Ultimately, though, Mimi’s impending death draws him back into the family fold for unexpected revelations and realizations. Written and directed by first-time filmmaker Burr Steers, Igby Goes Down features Rory Culkin, Kieran’s brother, as the young Igby.

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.

From the producers of The Lion, the Witch, and the Wardrobe and mind of author Katherine Paterson comes a rousing fantasy adventure about family, friendship, and the wondrous power of imagination. A perpetual outsider both at home and at school, Jess Aarons (Josh Hutcherson) just never seems to fit in no matter how hard he tries. When his goal to become the fastest runner in middle school is unexpectedly thwarted by newly arrived classmate Leslie Burke (AnnaSophia Robb), who enters in an “all boys” race and leaves her competitors in the dust, Jess soon strikes up a friendship with the imaginative outsider. Their bond is soon cemented thanks to Leslie’s love for storytelling and Jess’ skill as an artist, and the two lonely kids create a secret kingdom called Terabithia that is only accessible by swinging over a stream on a nearby rope. Though Jess and Leslie may be considered outcasts by their classmates, their adventures in Terabithia find the pair doing battle against the dreaded Dark Master and his malevolent creatures while plotting revenge against the schoolyard bullies. Now, thanks to his adventures in Terabithia and his friendship with Leslie, Jess finally finds the confidence needed to stand tall and be himself.

Jane Austen’s perennially popular story of the game of love among the British upper classes returns to the screen in this polished film adaptation. The Bennetts (Brenda Blethyn and Donald Sutherland) are the parents of five daughters near the close of the 18th century. Comfortable within their means but well short of rich, Mr. and Mrs. Bennett are looking for suitable husbands for their girls, and they are encouraged to learn that an eligible young bachelor from a wealthy family, Charles Bingley (Simon Woods), has moved into a nearby estate. Eager to see if a match can be made, the Bennetts bring their daughters Elizabeth (Keira Knightley) and Jane (Rosamund Pike) to a ball thrown by their new neighbor to see if sparks will fly. Jane seems to like Charles, and he appears to feel the same, but Elizabeth takes an immediate dislike to Darcy (Matthew MacFadyen), Charles’ egocentric best friend. While Elizabeth is infatuated with military man Lt. Wickham (Rupert Friend) and finds herself courted by William Collins (Tom Hollander), a well-meaning but drab man of the cloth, fate causes Elizabeth and Darcy to frequently cross paths, and while they don’t care for one another, they can’t stop thinking about each other, either. Pride & Prejudice also stars Jena Malone, Judi Dench, and Penelope Wilton.

Screen newcomer Joseph Cross portrays Augusten Burroughs in director Ryan Murphy’s film adaptation of author Burroughs’ best-selling personal memoir of the same name. A child of the 1970s whose alcoholic father Norman (Alec Baldwin) and delusional, unpublished poet mother Deidre (Annette Benning) serve as the dictionary definition of the word “dysfunctional,” Augusten is sent by his mother to live with her eccentric psychiatrist Dr. Finch (Brian Cox) when his disagreeable parents ultimately decide terminate their turbulent marriage. Suddenly thrust into an environment that is as unfamiliar as it is unpredictable, young Augusten forms a curious relationship with the doctor’s two whimsical daughters while learning to adapt and survive under even the most unusual of circumstances.

John Waters does a quirky spin on ’50s nostalgia in Cry-Baby, his musical homage to Rebel Without a Cause and Romeo and Juliet. Set in Baltimore in 1954 at the birth of rock & roll, the film features Johnny Depp as Wade “Cry-Baby” Walker. Depp is pure charisma as a juvenile delinquent with a permanent tear slithering down his cheek, a reminder of his state-executed parents. In the depths of his despair appears goody-goody girl Allison (Amy Locane), who has a sexual crush on Cry-Baby. But Allison’s Pat Boone-like boyfriend, Baldwin (Stephen E. Miller), the leader of the squares, is dead set against Cry-Baby and the rest of the juvenile delinquents and leads a revolt against them. In the resultant riot, the juvenile delinquents are blamed for the chaos, and Cry-Baby finds himself dispatched to reform school.

Chevy Chase, star of National Lampoon’s Vacation and its sequel, is back as the paterfamilias of the Griswold family (including Beverly D’Angelo as his missus) to skewer the Yuletide season. Chevy mugs, trips, falls, mashes his fingers and stubs his toes as he prepares to invite numerous dysfunctional relatives to his household to celebrate Christmas. Amidst the more outrageous sight gags (including the electrocution of a cat as the Christmas tree is lit) the film betrays a sentimental streak, with old wounds healing and long-estranged relatives reuniting in the Griswold living room. National Lampoon’s Christmas Vacation was still capable of attracting an audience five years after its release: It was one of the top-rated seasonal TV specials of 1994, outrating even the first network telecast of It’s a Wonderful Life.