Bovie Movie

In this better-than-average kick-boxer foray, Brandon Lee (son of famed martial-arts film star, Bruce Lee) stars as a young art student who happens to witness a drug murder and is placed in protective custody by federal agents. It’s not too long before he realizes that the only real protection he can count on is his own martial-arts training. This film is rated R for violence, sex and profanity.

The origins of the Caped Crusader of Gotham City are finally brought to the big screen in this new adaptation of the perennially popular comic-book series. The young Bruce Wayne (Gus Lewis) leads a privileged life as the son of wealthy, philanthropist parents, both of whom stress their commitment to improving the lives of the citizens of crime-ridden Gotham City. After his mother and father are murdered by a mugger, however, Wayne grows into an impudent young man (Christian Bale), full of rage and bent on retribution until encouraged by his childhood sweetheart, Rachel Dawes (Katie Holmes), to search for answers beyond his own personal vendettas. Wayne eventually finds discipline in the Far East under the tutelage of Henri Ducard (Liam Neeson), a member of the mysterious League of Shadows who guides him in the study of martial arts — and the ways in which an ordinary man can hone his senses to an almost superhuman acuity. After seven years away from Gotham, Wayne returns, determined to bring peace and safety back to the city. With the help of his faithful manservant, Alfred Pennyworth (Michael Caine), and Lucius Fox (Morgan Freeman), a scientist at his late father’s corporation, Wayne develops a secret identity as Batman, a masked fighter for justice. But when a shady psychiatrist (Cillian Murphy) joins forces with the criminal underworld, Wayne realizes that putting an end to their nefarious plans will be very difficult indeed. Batman Begins also features Gary Oldman as Lt. James Gordon and Tom Wilkinson as the crime boss Carmine Falcone.

This gritty, fast-paced, and innovative police drama earned five Academy Awards, including Best Picture, Best Adapted Screenplay (written by Ernest Tidyman), and Best Actor (Gene Hackman). Jimmy “Popeye” Doyle (Hackman) and his partner, Buddy Russo (Roy Scheider), are New York City police detectives on narcotics detail, trying to track down the source of heroin from Europe into the United States. Suave Alain Charnier (Fernando Rey) is the French drug kingpin who provides a large percentage of New York City’s dope, and Pierre Nicoli (Marcel Bozzuffi) is a hired killer and Charnier’s right-hand man. Acting on a hunch, Popeye and Buddy start tailing Sal Boca (Tony Lo Bianco) and his wife, Angie (Arlene Faber), who live pretty high for a couple whose corner store brings in about 7,000 dollars a year. It turns out Popeye’s suspicions are right — Sal and Angie are the New York agents for Charnier, who will be smuggling 32 million dollars’ worth of heroin into the city in a car shipped over from France. The French Connection broke plenty of new ground for screen thrillers; Popeye Doyle was a highly unusual “hero,” an often violent, racist, and mean-spirited cop whose dedication to his job fell just short of dangerous obsession. The film’s high point, a high-speed car chase with Popeye tailing an elevated train, was one of the most viscerally exciting screen moments of its day and set the stage for dozens of action sequences to follow. And the film’s grimy realism (and downbeat ending) was a big change from the buff-and-shine gloss and good-guys-always-win heroics of most police dramas that preceded it. The French Connection was inspired by a true story, and Eddie Egan and Sonny Grosso, Popeye and Buddy’s real life counterparts, both have small roles in the film. A sequel followed four years later.

In Bernardo Bertolucci’s art-house classic, Marlon Brando delivers one of his characteristically idiosyncratic performances as Paul, a middle-aged American in “emotional exile” who comes to Paris when his estranged wife commits suicide. Chancing to meet young Frenchwoman Jeanne (Maria Schneider), Paul enters into a sadomasochistic, carnal relationship with her, indirectly attacking the hypocrisy all around him through his raw, outrageous sexual behavior. Paul also hopes to purge himself of his own feelings of guilt, brilliantly (and profanely) articulated in a largely ad-libbed monologue at his wife’s coffin. If the sexual content in Last Tango is uncomfortably explicit (once seen, the infamous “butter scene” is never forgotten), the combination of Brando’s acting, Bertolucci’s direction, Vittorio Storaro’s cinematography, and Gato Barbieri’s music is unbeatable, creating one of the classic European art movies of the 1970s, albeit one that is not for all viewers.