Bovie Movie

“His code name is Condor. In the next 24 hours, everyone he trusts will try to kill him.” As the ads ominously announced, a low-level spook confronts the unfathomable in Sydney Pollack’s 1975 political thriller, adapted from the James Grady novel Six Days of the Condor. CIA researcher Joe Turner (Robert Redford) returns from lunch to find the entire staff of his small New York office assassinated. When he meets his boss (Cliff Robertson) at another location to tell him what happened, someone tries to shoot Turner as well. On the run from the cops and his agency, a desperate Turner resorts to holing up with innocent civilian Kathy (Faye Dunaway), who becomes his only ally. Joe decides to save himself the only way possible: by going to The New York Times. But will it work? One of a cycle of conspiracy films from the 1970s that also included The Parallax View (1974) and Redford’s All the President’s Men (1976), Three Days of the Condor pits a working Everyman (albeit a CIA everyman) against a far-reaching conspiracy, as it also criticizes the CIA during a period of increasing publicity about federal wrongdoing, from the Pentagon Papers through Watergate and other congressional investigations; the challenge of negotiating New York City, shot on location, becomes one more sign of the forces that Joe must face. With its timely subject matter, taut suspense, and sympathetic Redford hero, Three Days of the Condor became a substantial hit. Balancing the conspiracy cycle’s pessimism with a margin of attenuated hope, Three Days of the Condor suggests that one man can still discover the truth, but whether it helps him remains to be seen.

Terence Young directed this first of a long line of screen adventures with Ian Fleming’s unflappable British Secret Service Agent 007 in a fast-paced, tongue-in-cheek style that set the tone for the rest of the popular series. Sean Connery sets the standard by which all future takers must measure themselves as the insouciant and devil-may-care James Bond. The story concerns Bond being sent to Jamaica to investigate the murders of a British agent and his secretary. During his investigation, he comes into contact with the evil and unscrupulous Chinese scientist Dr. No (Joseph Wiseman) who, living on an island called Crab Key, is hard at work in a nuclear laboratory. Dr. No’s scheme is to divert rockets being fired from Cape Canaveral off their charted course and to blackmail the United States to get their rocket launches restored to normal. Helping Bond is Ursula Andress (mostly undressed in a bikini throughout most of the film), as well as bad gals like Zena Marshall, who almost leads Bond to his death in her bedroom, and Eunice Gayson, a Bond pickup in a London gambling house who proves herself a greater adversary than even James Bond can handle.

For Your Eyes Only eschews the gimmickry and campiness of earlier James Bond films, concentrating instead on telling the story and maintaining suspense. Roger Moore is back as Secret Agent 007, this time on the trail of Soviet spies while he romances the beautiful Melina, played by Carole Bouquet. Richard Maibaum’s screenplay has very little to do with the collection of short stories that made up Ian Fleming’s For Your Eyes Only, save for the plotline involving Melina’s seeking vengeance for the death of her father. The direction is by John Glen, who’d previously done second unit work on other Bond films.

The Eisner Award-winning comic series Sin City comes to life in this live-action feature adaptation from director Robert Rodriguez and creator Frank Miller. Interweaving multiple storylines from the series’ history, this violent crime noir paints the picture of the ultimate town without pity through the eyes of its roughest characters. There’s the street thug Marv (Mickey Rourke), whose desperate quest to find the killer of a prostitute named Goldie (Jaime King) will lead him to the foulest edges of town. Inhabiting many of those areas is Dwight (Clive Owen), a photographer in league with the sordid ladies of Sin City, headed by Gail (Rosario Dawson), who opens up a mess of trouble after tangling with a corrupt cop by the name of Jackie Boy (Benicio Del Toro). Finally, there’s Hartigan (Bruce Willis), an ex-cop with a heart problem who’s hell-bent on protecting a stripper named Nancy (Jessica Alba). Featuring a who’s who supporting cast that includes Elijah Wood, Brittany Murphy, Devon Aoki, and Nick Stahl, Sin City promises to be one of the most direct translations from page to screen of a comic series, with shots and dialogue adapted straight from the original comic’s panels. Rodriguez quit the Director’s Guild when they refused to let Frank Miller co-direct the film, a deal hashed out after the two collaborators developed and shot the opening scene utilizing a green-screen process to harness the stark, black-and-white look of the books as a litmus test for the rest of the production. Quentin Tarantino was brought in and reportedly paid one dollar to direct an extended scene between Del Toro and Owen that amounts to one issue of The Big Fat Kill miniseries.

A man with no memory struggles to make sense of the troubling details that are still stuck in his mind in this psychological thriller. Frank (Val Kilmer) wakes up in a small town in the New Mexico desert with a severe head wound and most of his memory wiped away. However, Frank is somehow convinced that someone is planning to assassinate the President of the United States, and that Chloe (Neve Campbell), the woman who is claiming to be his girlfriend, is some sort of imposter. When Frank learns that the president is indeed passing through town that day, he tries to warn Sheriff Kolb (Sam Shepard) that something sinister if afoot; as it happens, Kolb believes him, though he’s more than a bit busy dealing with a hard-fought election campaign against former Deputy Cash (Noble Willingham). Blind Horizon was screened at the 2004 South by Southwest Film Festival.

Director Robert Rodriguez picks up where his successful independent debut El Mariachi left off with this slam-bang South of the Border action saga. Bucho (Joaquim DeAlmeida) is a wealthy but casually bloodthirsty drug kingpin who rules a seedy Mexican border town. Bucho and his men make the mistake of angering El Mariachi (Antonio Banderas), a former musician who now carries an arsenal in his guitar case. Bucho was responsible for the death of El Mariachi’s girlfriend and put a bullet through his fretting hand, making him unable to play the guitar. Bent on revenge, the musician-turned-killing machine arrives in town to put Bucho out of business, though he finds few allies except for Carolina (Salma Hayek), who runs a bookstore that doesn’t seem to attract many readers. Desperado features supporting performances from Cheech Marin as a cynical bartender, Steve Buscemi as the cantina patron who sets up the story, and Quentin Tarantino as a man with a really terrible joke to tell.

Directed by Martyn Burke, Avenging Angelo centers around the life of bodyguard Frank (Sylvester Stallone) and his client, neurotic socialite Jennifer (Madeleine Stowe). Frank must constantly fight his emotions in order to maintain a strictly professional relationship with Jennifer, who has recently broken if off with her unfaithful husband. Matters are complicated further when Frank accidentally leads the sworn enemies of Jennifer’s father, Mafia bigwig Angelo (Anthony Quinn), to her doorstep. Things are looking up for Jennifer, or so she thinks, when she meets Marcello (Raoul Bova), whom she believes to be a novelist. Unfortunately, Marcello is not what he claimed to be, and she finds herself in danger once more. With Frank by her side, she takes on the mob, and eventually, her feelings. Avenging Angelo was the late Anthony Quinn’s final role.

A mechanic in the British drug trade finds himself caught in the middle of some dangerous circumstances in this crime thriller. XXXX (Daniel Craig) is a nameless go-between in the British mob who buys drugs from underground wholesalers and them sells them to street dealers, keeping the system flowing and making a tidy profit in the process. XXXX is looking forward to getting out of the game, and has displayed both smarts and caution in how he’s handled his business, but before his overseer Jimmy Price (Kenneth Cranham) will let him go, he has a couple of favors that need to be done. First, Eddie Temple (Michael Gambon) is a mob boss whose daughter has gotten hooked on hard drugs and run away from home; Jimmy needs XXXX to find them girl and bring her to him before Eddie’s men can get hold of her. Second, Dragan (Dragan Micanovic) is a Ecstasy wholesaler who has had a large shipment stolen by Duke (Jamie Foreman); Jimmy wants XXXX to get the Ecstasy back to Dragan, but Duke isn’t eager to sell and Dragan is becoming impatient. Between these two matters, XXXX isn’t so sure he’ll get out of the business alive, especially after he finds himself falling for Duke’s nephew’s girlfriend, Tammy (Sienna Miller). Layer Cake marked the directorial debut for Matthew Vaughn, best known as a producer for Guy Ritchie’s lad-centric crime movies.

As visually stylish as it is graphically violent, this thriller directed by Luc Besson concerns Mathilda (Natalie Portman), a 12-year-old girl living in New York City who has been exposed to the sordid side of life from an early age: her family lives in a slum and her abusive father works for drug dealers, cutting and storing dope. Mathilda doesn’t much care for her parents, but she has a close bond with her four-year-old brother. One day, she returns from running an errand to discover that most of her family, including her brother, have been killed in a raid by corrupt DEA agents, led by the psychotic Stansfield (Gary Oldman). Mathilda takes refuge in the apartment of her secretive neighbor, Leon (Jean Reno), who takes her in with a certain reluctance. She discovers that Leon is a professional assassin, working for Tony (Danny Aiello), a mob kingpin based in Little Italy. Wanting to avenge the death of her brother, Mathilda makes a deal with Leon to become his protégée in exchange for work as a domestic servant, hoping to learn the hitman’s trade and take out the men who took her brother’s life. However, an affection develops between Leon and Mathilda that changes his outlook on his life and career. Besson’s first American film boasted a strong performance from Jean Reno, a striking debut by Natalie Portman, and a love-it-or-hate-it, over-the-top turn by Gary Oldman. Léon was originally released in the U.S. in 1994 as The Professional, with 26 minutes cut in response to audience preview tests. Those 26 minutes were restored in the director’s preferred cut, released in 1996 in France as Léon: Version Intégrale and in the U.S. on DVD as Léon: The Professional in 2000.

French/Israeli filmmaker Eyal Sivan has fashioned an unusual documentary about the Holocaust from video footage (originally shot for American television) of the 1961 trial of Nazi war criminal Adolf Eichmann. Using sophisticated editing techniques and digital image manipulation to give the visuals a distinctive look, Un Specialiste/The Specialist focuses less on Eichmann as the monstrous architect of one of the 20th century’s most heinous crimes, and more on a subtly terrifying notion: Eichmann was a seemingly ordinary and mild-mannered fellow who was also capable of planning the mass evacuation of Jews and other “undesirables” to extermination camps, denying any legal responsibility with the words: “That was unfortunate, but it wasn’t my fault.” Along with extensive footage of Eichmann’s testimony, Sivan also devotes significant screen time to testimony of survivors of the death camps. Un Specialiste/The Specialist was screened at the 1999 Berlin Film Festival’s as part of a special program entitled “Documents Against Forgetting.”