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.

After the Oscar-winning The English Patient, writer/director Anthony Minghella attempted another tricky literary adaptation with The Talented Mr. Ripley, which features heartthrob Matt Damon cast against type as a psychopathic bisexual murderer. Tom Ripley (Damon) is a bright and charismatic sociopath who makes his way in mid-’50s New York City as a men’s room attendant and sometimes pianist, though his real skill is in impersonating other people, forging handwriting, and running second-rate scams. After being mistaken for a Princeton student, Tom meets the shipping tycoon father of Dickie Greenleaf (Jude Law), who has traveled to the coast of Italy, where he’s living a carefree life with his father’s money and his beautiful girlfriend, Marge (Gwyneth Paltrow). Dickie’s father will pay Ripley 1,000 dollars plus his expenses if he can persuade Dickie to return to America. As Ripley and Dickie become friends, Tom finds himself both attracted to Dickie and envious of his life of pleasure. In time, he decides that he would rather be Dickie Greenleaf than Tom Ripley, so rather than go back to his life of poverty, Ripley impulsively murders Dickie and assumes his identity. The Talented Mr. Ripley was based on the first of a series of novels featuring Tom Ripley written by Patricia Highsmith; the story was previously filmed in 1960 as Purple Noon, with Alain Delon as Ripley.

A man is determined to find justice after the loss of a loved one, even though he is incapable of fully remembering the crime, in this offbeat thriller. Leonard (Guy Pearce) is a man who is struggling to put his life back together after the brutal rape and murder of his wife. But Leonard’s problems are different from those of most people in his situation; he was beaten severely by the same man who killed his wife. The most significant manifestation of Leonard’s injuries is that his short-term memory has been destroyed; he is incapable of retaining any new information, and must resort to copious note-taking and Polaroid photographs in order to keep track of what happens to him over the course of a day (he’s even tattooed himself with a few crucial bits of information he can’t get along without). Leonard retains awareness that his wife was brutally murdered, however, and he’s convinced that the culprit still walks the streets. Leonard is obsessed with the notion of taking revenge against the man who has ruined his life, and he sets out to find him, getting help from Natalie (Carrie-Anne Moss), who appears to be a sympathetic barmaid, and Teddy (Joe Pantoliano), who claims to be Leonard’s friend, even though Leonard senses that he cannot be trusted. Writer/director Christopher Nolan adapted Memento from a short story by his brother Jonathan Nolan.

Top-notch action sequences and exciting stunt work highlight this fast-moving thriller. John Kruger (Arnold Schwarzenegger) is a top agent in the U.S. Marshalls’ Witness Protection Program; it’s his job to “erase” the pasts of Federal witnesses under his watch and deal with anyone who tries to hurt them. Kruger’s latest assignment is to protect Lee Cullen (Vanessa Williams), who while working for a major weapons manufacturing firm discovered evidence that the company was selling new, high-tech weapons to intentional terrorists groups with the cooperation of a faction of enemy agents within the United States government. However, when Kruger discovers that the Witness Protection Program has a rat in the house — and that rat is his boss, U.S. Marshall Robert Deguerin (James Caan) — Kruger has to guard his own life while trying to protect Lee’s. The supporting cast is highlighted by James Coburn, Robert Pastorelli, and James Cromwell.

This cold, stylish erotic-thriller grossed over $100 million at the box-office despite vigorous protests at its depiction of gays and women. The shocking opening sequence features a graphic sexual encounter involving a rock-star bound with a white Hermes scarf by an unidentified blond woman. Despite the fact that the scene ends with a bloody icepick murder (horrifyingly realized by makeup artist Rob Bottin), Hermes scarves quickly sold out at stores nationwide. This seeming paradox is at the heart of the film’s appeal, as it mixes perverse sexuality and erotic bloodshed in a manner common to European thrillers (director Paul Verhoeven had done it himself in 1979’s marvelous De Vierde Man) but mostly taboo in America. The plot concerns Catherine Tramell (Sharon Stone), a successful bisexual mystery writer who may also be a ruthless murderer. Everyone close to Catherine dies, and troubled policeman Nick Curran (Michael Douglas) must find out why. In the process, Nick becomes sexually involved with both Catherine and police psychiatrist Beth Gardner (Jeanne Tripplehorn), while the bodies begin piling up and Catherine turns the cat-and-mouse game around on Nick. Verhoeven and screenwriter Joe Eszterhas — who was paid $3 million for the script — keep the tension ratcheted up throughout, even during the frequent sex scenes, which carry a violent edge reminiscent of the Italian thrillers of Dario Argento. The film’s most notorious scene, a police interrogation in which Catherine makes drooling idiots out of her captors by revealing that she is not wearing underwear, became a cultural touchstone and was widely imitated and parodied. Sharon Stone, meanwhile, was embarrassed to the point that she claimed Verhoeven had aimed lights on strategic locations without her knowledge. George Dzundza and Dorothy Malone co-star.

For his fifth effort as a feature-film director, one-time cinematographer Barry Sonnenfeld brought his cartoonish visual style and darkly humorous sensibilities to this adaptation of, appropriately enough, a tongue-in-cheek sci-fi comic book. Will Smith stars as James Darrel Edwards, a New York City cop with an athletic physique and a flippant, anti-authoritarian attitude toward law enforcement. After chasing down a mysterious perpetrator one night who turns out to be an alien, James is recruited by “K” (Tommy Lee Jones), a veteran of a clandestine government agency secretly policing the comings and goings of aliens on planet Earth. Nicknamed the “men in black” for their nondescript uniform of black suit, shoes, tie, and sunglasses, the agents are assigned to recover a bauble that’s been stolen by an intergalactic terrorist (Vincent D’Onofrio). It seems the item is none other than the galaxy itself, and its theft has plunged humanity into the center of what’s shaping up to become an interstellar war, unless K and his new wisecracking partner, now renamed “J,” can stop the bad guy. On their side but somewhat in the dark is a pretty, unflappable city medical examiner (Linda Fiorentino) who has been zapped one too many times by K’s ingenious memory-sapping device. Men in Black was a box office smash, inspiring an animated children’s television series and a hit soundtrack album that featured a performance by star (and rapper) Smith.

In this darkly comic drama, Edward Norton stars as a depressed young man (named in the credits only as “Narrator”) who has become a small cog in the world of big business. He doesn’t like his work and gets no sense of reward from it, attempting instead to drown his sorrows by putting together the “perfect” apartment. He can’t sleep and feels alienated from the world at large; he’s become so desperate to relate to others that he’s taken to visiting support groups for patients with terminal diseases so that he’ll have people to talk to. One day on a business flight, he discovers Tyler Durden (Brad Pitt), a charming iconoclast who sells soap. Tyler doesn’t put much stock in the materialistic world, and he believes that one can learn a great deal through pain, misfortune, and chaos. Tyler cheerfully challenges his new friend to a fight. Our Narrator finds that bare-knuckle brawling makes him feel more alive than he has in years, and soon the two become friends and roommates, meeting informally to fight once a week. As more men join in, the “fight club” becomes an underground sensation, even though it’s a closely guarded secret among the participants. (First rule: Don’t talk about fight club. Second rule: Don’t talk about fight club.) But as our Narrator and Tyler bond through violence, a strange situation becomes more complicated when Tyler becomes involved with Marla (Helena Bonham Carter), whom our Narrator became infatuated with when they were both crashing the support-group circuit. Based on the novel by Chuck Palahniuk, Fight Club was directed by David Fincher, who previously directed Pitt in the thriller Seven.