Bovie Movie

Based on Helen Fielding’s hugely popular novel, this romantic comedy follows Bridget (Renee Zellweger), a post-feminist, thirty-something British woman who has a penchant for alcoholic binges, smoking, and an inability to control her weight. While trying to keep these things in check and also deal with her job in publishing, she visits her parents for a Christmas party. They try to set her up with Mark (Colin Firth), the visiting son of one of their neighbors. Snubbed by Mark, she instead falls for her boss Daniel Hugh Grant), a dashing lothario who begins to send her suggestive e-mails that soon lead to a dinner date proposition. Daniel reveals that he and Mark attended college together, during which time Mark had an affair with his fianc?e. When Bridget finds Daniel cavorting with an American colleague, she decides to change her life with a new job as a TV presenter. At a dinner party, she bumps into Mark again, who expresses his affection for her; when Daniel claims he wants Bridget back, the two fight over who deserves her affections the most. Popular British performers Gemma Jones, Jim Broadbent, and Shirley Henderson appear in the supporting cast.

In this blend of psychological thriller and courtroom drama, Emily Rose (Jennifer Carpenter) is a 19-year-old college student who begins displaying bizarre and troubling behavior; as her actions become increasingly destructive and shocking, Emily begins speaking in strange tongues and destroys religious symbols that surround her. Emily’s parents believe that their daughter has become possessed of the devil, and the Catholic Church agrees to authorize an exorcism of the young woman. As Father Moore (Tom Wilkinson) attempts to drive the demons from Emily’s body, the girl dies in the midst of the taxing ceremonies, and Father Moore finds himself charged with negligent homicide. Attorney Erin Brunner (Laura Linney) is hired to represent Father Moore against prosecutor Ethan Thomas (Campbell Scott), who intends to prove there were concrete medical explanations for Emily’s behaviors, including epilepsy and schizophrenia, all leading to a heated courtroom debate between the notions of faith and science. The Exorcism of Emily Rose was inspired by the real-life story of Annaliese Michel, a young woman from Germany who died in 1976 after priests in Wurzburg spent eight months attempting to exorcise demons from her body.

When a pair of bright-but sociopathic teens conspires to commit the perfect murder, a troubled cop teams with her eager new partner to solve the case that left the community in fear and the police without a clue. High school ladies’ man Richard Haywood (Ryan Gosling) and outcast Justin Pendleton (Michael Pitt) have no motive to commit murder, but they soon conspire to choose a random victim and pin the crime on local pot dealer Ray (Chris Penn), under the guise that the police will never suspect them of such a brutal act. Determined Det. Cassie Merriweather (Sandra Bullock) is assigned to the case, and quickly becomes suspicious of the elusive teens despite the doubts expressed by her superiors and her lack of solid evidence. Soon entering into a dangerous test of wills with the increasingly desperate and dangerous teens, her investigation leads her down a disturbing path that will test her skills as a detective and her will to survive.

Robert Altman directed this John Grisham tale that begins at a party where Savannah attorney Rick Magruder (Kenneth Branagh) celebrates his successful defense of a man who shot a local cop. The partygoers include his ex-wife Leeanne (Famke Janssen), the mother of his two children; his law partner Lois Harlan (Daryl Hannah); and caterer Mallory Doss (Embeth Davidtz). After Mallory finds her car stolen, Rick gives her a ride home where things turn sexual. Attracted to Mallory, he learns that her crazed father Dixon Doss (Robert Duvall) has been threatening her. Getting too closely involved with this woman he hardly knows, Rick has the police round up her unstable father, and he next subpoenas her ex-husband Pete (Tom Berenger) to testify against Dixon, who is institutionalized.

The crazed Dixon manages to escape from the asylum, intent on revenge against all his betrayers and enemies. As a potent hurricane blows into Savannah, Mallory’s car is torched, and Rick receives threats. Believing his children are in danger, Rick removes them from school, prompting a warrant for his arrest. When his children disappear, Rich goes on the counterattack against Dixon. Chinese cinematographer Changwei Gu (of Chen Kaige’s Farewell My Concubine and Zhang Yimou’s Ju Dou) captured the soaked Savannah sites. The script is not an adaptation from a John Grisham novel; Grisham wrote it as an original screenplay just before the success of The Firm (1993), and it was acquired by producer Jeremy Tannenbaum. After Island Pictures came into the project at $1.4 million, Grisham returned for rewrites. Altman did even more drafts, so the pseudonym Al Hayes was created as the scripting credit. When Polygram suggested to Altman that the electronic score could be replaced with a traditional score, Altman had friends call reporters to say he had been dismissed. Polygram began re-editing the $25 million movie, but their edit didn’t test much better than Altman’s version, so they handed the reins back to Altman.

One of Marvel Comics’ most popular characters comes to the screen for the first time in this sci-fi action-thriller. Matthew Murdock (Ben Affleck) is a lawyer whose father, a prizefighter, was killed by gangsters when Murdock was just a boy. Since then, Murdock has devoted his life to bringing wrongdoers to justice and is willing to help others by taking on cases no other attorney will touch. Murdock is also blind, after being struck down by a truck while trying to save a man from being hit. What no one knows is that Murdock was also doused with an unusual radioactive isotope which had a strange effect on him — while Murdock’s sight may be gone, his other senses have been raised to such a keen pitch that they act like radar, allowing him to tell where he’s going and what happens around him, both near and far away. Murdock puts his gifts to use at night as the costumed crime-fighter Daredevil, whose pursuit of justice has earned him the wrath of underworld leader Kingpin (Michael Clarke Duncan). Kingpin wants Daredevil out of his way once and for all, and hires Bullseye (Colin Farrell), a super-assassin with an uncanny ability to throw blades, to do the job. Daredevil also makes the acquaintance of Elektra Natchios (Jennifer Garner), a woman with super-heroic talents who is also on Kingpin’s bad side, though it remains to be seen if she has aligned herself with the forces of good as Daredevil has done. Jon Favreau, Joe Pantoliano, and David Keith highlight Daredevil’s supporting cast.

Completed in mid-1930, Scarface, based on Armitage Trail’s novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was “Scarface”). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo’s mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film’s finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film’s funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous “‘X’ Marks The Spot” logo, inspired by news photos of gangland murders: whenever a character is killed, the letter “X” appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins — a strike, denoted, of course, by an “X.” Producer Howard R. Hughes couldn’t release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle “The Shame of the Nation” to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes’ orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes.

When the mysterious death of a major athlete prompts Scotland Yard detective Roy Washburn (David Thewlis) to order the investigation of best-selling crime novelist Catherine Tramell (Sharon Stone), criminal psychiatrist Dr. Michael Glass (David Morrissey) is slowly drawn into Tramell’s seductive world of lies and sexual intrigue in director Michael Caton-Jones belated sequel to Paul Verhoeven’s 1992 erotic thriller. Upon relocating from San Francisco to London, alluring crime novelist Tramell once again finds herself pursued by authorities when all clues point to her being somehow involved in the death of a popular sports superstar. Intellectually intrigued by his new subject and undeniably drawn to her physically, Dr. Glass finds it increasingly difficult to resist the cunning black widow’s devious web of deception and physical temptation. When the professional boundaries between Glass and Trammel come shattering down in a shower of unbridled lust, Dr. Glass is forced to make a difficult decision that could mean the end of both his professional career, and his life.

Bret Easton Ellis’ dark and violent satire of America in the 1980s is brought to the screen in this unsettling drama with black comic overtones. Patrick Bateman (Christian Bale), the son of a wealthy Wall Street financier, is pursuing his own lucrative career with his father’s firm. Bateman is the prototypical yuppie, obsessed with success, fashion, and style. He is also a serial killer who murders, rapes, and mutilates both strangers and acquaintances without provocation or reason. Donald Kimble (Willem Dafoe), a police detective, questions Bateman about the disappearance of Paul Allen (Jared Leto), whom Patrick murdered several days earlier. As Kimble stays on Bateman’s trail, Bateman’s mask of studied, distant cool begins to fall apart. American Psycho also features Reese Witherspoon as Bateman’s girlfriend, as well as Samantha Mathis, Chloe Sevigny, and Guinevere Turner; the latter also co-authored the screenplay. Controversy followed the production from the start, when speculation that Leonardo Di Caprio would play Bateman sparked concerns that he would lure preteens to an R-rated movie. Di Caprio soon bowed out of the project, and original leading man Bale was reinstated. Later, a group of Toronto residents attempted to block filming in that city after Canadian serial killer Paul Bernardo claimed that Ellis’ novel inspired his murder spree.

Defense attorney Claire Kubik (Ashley Judd) seems to have the perfect life. She has a high profile job at a big firm, a beautiful home outside San Francisco, and a husband, Tom (James Caviezel of The Thin Red Line), who loves her. Claire’s biggest problem appears to be that she wants to have a baby, and she’s having trouble getting pregnant. But when the police investigate a routine break-in at her home, they uncover the truth about her husband’s identity, and her life is thrown into turmoil. Claire finds out that her husband’s name is actually Ron Chapman, and that he’s an ex-marine accused of murdering seven innocent civilians in El Salvador during a raid in the late ’80s. He admits that he was there, and that he changed his identity to escape prosecution for the crimes, but he insists that he’s innocent, and that the massacre was committed by another soldier under the orders of a powerful general (Bruce Davison), who is using Ron as a patsy to cover it up. Claire is eventually convinced that Ron’s telling the truth. Faced with defending her husband in an unfamiliar military courtroom, Claire enlists the aid of Charles Grimes (Morgan Freeman), an ex-Army judge advocate with an axe to grind. Stonewalled by the military bureaucracy at every turn, they uncover a web of deception and disappearing witnesses, and they soon find their own lives in danger. High Crimes was adapted from Joseph Finder’s novel by the husband and wife screenwriting team of Yuri Zeltser and Cary Bickley. The film was directed by Carl Franklin (One False Move), and co-stars Amanda Peet and Adam Scott.

Though equally respected in their field, divorce lawyers Audrey Woods (Julianne Moore) and Daniel Rafferty (Pierce Brosnan) are opposites inside and out of the courtroom. Audrey is meticulous and by the book, while Daniel relies on personality and luck to get by. Despite the difference in methods, neither lawyer has lost a case, and neither plan on ending their streak after being respectively hired by Serena (Parker Posey) and Thorne (Michael Sheen), a celebrity power couple gone wrong. The divorce settlement hinges on a particularly spectacular Irish castle, which both parties would like to keep for themselves. Audrey and Daniel hurry to Ireland with depositions in their eyes, but a growing mutual attraction manages to squirm out from beneath, and, after being immersed in a romantic Irish festival, the rival lawyers wake up married. Reeling, potentially in love (to Audrey in particular’s dismay), and faced with the type of media explosion capable of leading to the end of their careers, the mismatched lawyers contemplate how to go about their clients’ divorce hearings as man and wife.