Bovie Movie

By the time Sergio Leone made this film, Italians had already produced about 20 films ironically labelled “spaghetti westerns.” Leone approached the genre with great love and humor. Although the plot was admittedly borrowed from Akira Kurosawa’s Yojimbo (1961), Leone managed to create a work of his own that would serve as a model for many films to come. Clint Eastwood plays a cynical gunfighter who comes to a small border town and offers his services to two rivaling gangs. Neither gang is aware of his double play, and each thinks it is using him, but the stranger will outwit them both. The picture was the first installment in a cycle commonly known as the “Dollars” trilogy. Later, United Artists, who distributed it in the U.S., coined another term for it: the “Man With No Name” trilogy. While not as impressive as its follow-ups For a Few Dollars More (1965) and The Good, the Bad, and the Ugly (1966), A Fistful of Dollars contains all of Leone’s eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Not released in the U.S. until 1967 due to copyright problems, the film was decisive in both Clint Eastwood’s career and the recognition of the Italian western.

Famed producer Dino De Laurentiis tries to steal the thunder from Jaws, then the top-grossing film of all-time, in this big budget remake of King Kong. (De Laurentiis related his tactics to Tom Snyder: “When Jaws dies, nobody cries. When Kong dies, they all cry.”) Updated to the 1970s, the original Robert Armstrong character is now Fred Wilson (Charles Grodin), a big-shot oil magnate from Petrox Oil, looking for new petroleum deposits on a recently discovered Pacific island. Jack Prescott (Jeff Bridges) is a counter-culture paleontologist, stowing away on Wilson’s ship, who warns that they are headed for “Skull Island,” where prehistoric monsters still live and roam free. Also along for the ride is Dwan (Jessica Lange, in her film debut), a down-on-her-luck starlet, shipwrecked in the ocean after the sinking of a yacht. She really becomes down-on-her-luck when the group lands on the island and a giant ape, Kong, takes a shine to her. Kong kidnaps her and Dwan takes umbrage when the ape tries to remove her clothes by shouting, “You male chauvinist ape!” But Prescott comes to her aid and rescues her from the gorilla’s big mits. Wilson, seeing money to be made on Kong, locks him in the cargo hold of his ship and transports him to New York City. Once there, Kong manages to escape and wreak havoc upon the beleaguered town, before being compelled to climb up the World Trade Center for sanctuary.

Director Mark L. Lester modeled this police action drama on the Hong Kong style, guaranteeing plenty of over-the-top action sequences. Dolph Lundgren stars as police detective Chris Kenner, an American raised in Japan. He is given a new partner, Johnny Murata (Brandon Lee, making his Hollywood debut), a Japanese raised in America. The two are made for each other — Chris doesn’t appreciate American culture, while Johnny doesn’t much like Japanese culture. One thing they both enjoy are the martial arts, of which they are experts. The two are assigned to L.A.’s Little Tokyo, trying to nab the notorious Yoshida (Carey-Hiroyuki Tagawa), a drug manufacturer using a local brewery as his distribution center. Yoshida, a member of the Yakuza, has brought the residents of Little Tokyo to their knees. But Chris has personal reasons for wanting to get Yoshida — as a child he witnessed Yoshida murdering his parents. When Yoshida rapes and kidnaps Minako (Tia Carrere), a beautiful lounge singer, it’s the last straw and Chris and Johnny set out for Yoshida’s heavily guarded home for a big showdown.

Three stars team up for this unusual look at America’s role in the war against Iraq. In 1991, as the Gulf War winds to a close, three American servicemen find themselves happy to have achieved victory but wondering about the ultimate importance of what they’ve done (especially since Saddam Hussein is still in power). Major Archie Gates (George Clooney) is a decorated Vietnam veteran and special forces officer with two weeks to go before he retires; Sgt. Troy Barlow (Mark Wahlberg) has a new baby at home; and Chief Elgin (Ice Cube) is probably just going to end up back in Detroit. So when one of them comes across a map that seems to point out where Saddam’s forces have stashed a large cache of gold they stole from Kuwait, they decide to follow the trail and take some of the war booty for themselves. However, the deeper they journey into Iraq, the more they see of the consequences of America’s policies in the Middle East. Although President George Bush and the American military urged Iraqi citizens to rise up against Saddam Hussein, and pledged their support to a people’s movement against the leader, Iraqis found that when they took to the streets against Saddam, the United States did not back them up, and the loss of Iraqi lives was fearsome. When Gates, Barlow and Elgin become aware of what’s happening, they’re torn between their desire to grab the fortune they came for and the demands of their conscience to help the people they came to liberate. Three Kings was directed by David O. Russell and marked a significant change of direction after his dark-humored relationship comedies, Spanking the Monkey and Flirting with Disaster.

Oliver Stone’s breakthrough as a director, Platoon is a brutally realistic look at a young soldier’s tour of duty in Vietnam. Chris Taylor (Charlie Sheen) is a college student who quits school to volunteer for the Army in the late ’60s. He’s shipped off to Vietnam, where he serves with a culturally diverse group of fellow soldiers under two men who lead the platoon: Sgt. Barnes (Tom Berenger), whose facial scars are a mirror of the violence and corruption of his soul, and Sgt. Elias (Willem Dafoe), who maintains a Zen-like calm in the jungle and fights with both personal and moral courage even though he no longer believes in the war. After a few weeks “in country,” Taylor begins to see the na?vet? of his views of the war, especially after a quick search for enemy troops devolves into a round of murder and rape. Unlike Hollywood’s first wave of Vietnam movies (including The Deer Hunter, Apocalypse Now, and Coming Home), Platoon is a grunts-eye view of the war, touching on moral issues but focusing on the men who fought the battles and suffered the wounds. In this sense, it resembles older war movies more than its Vietnam peers, as it mixes familiar elements of onscreen battle with small realistic details: bugs, jungle rot, exhaustion, C-rations, marijuana, and counting the days before you go home. This mix of traditional war movie elements with a contemporary sensibility won Platoon four Oscars including Best Picture and Best Director, and a reputation as one of the definitive modern war films.

Superstars Mel Gibson and Danny Glover return with director Richard Donner for Lethal Weapon 3, the third in the phenomenally successful action series. In this film, Roger Murtaugh (Danny Glover) is only eight days away from retirement and his partner Martin Riggs (Mel Gibson) once again manages to get them both into hot water with the both LAPD and the bad guys, who this time are Jack Travis (Stuart Wilson) and a gang of hoodlums selling armor-piercing bullets. Joe Pesci returns as the fast-talking schmuck Leo Getz. A new addition to the cast is Rene Russo as Lorna Cole, a sergeant from internal affairs sent to investigate Riggs and Murtaugh, but who ultimately ends up falling in love with the caffienated Riggs.

One man’s life is thrown into turmoil by picking up a telephone in this claustrophobic thriller. Stu Shepard (Colin Farrell) is a brash, cynical, and self-centered public relations man who juggles a busy career with both a wife, Kelly (Radha Mitchell), and a mistress, Pamela (Katie Holmes). Stu steps into a phone booth on a busy New York street to make a call to Pamela without Kelly being the wiser, but as soon as Stu hangs up, the phone begins to ring. Curious, Stu picks it up — and a stranger on the other end (voice of Kiefer Sutherland) informs him that if he hangs up the phone, he’ll be shot. The red dot of an infrared rifle scope convinces Stu that the caller means business, and when another man tries to make his way into the booth, he’s shot mere inches from Stu, calling the attention of the police. Captain Ramey (Forest Whitaker) naturally assumes that Stu was the killer, as Stu struggles to find a way to convince the police of what’s happening before more lives are lost, without leaving the booth and putting his own life on the line. At one time proposed as a vehicle for Jim Carrey, Phone Booth was directed by Joel Schumacher, from a screenplay by exploitation icon Larry Cohen.

Animal rights activists free a group of infected chimpanzees to horrifying results in this speculative sci-fi horror effort from Trainspotting director Danny Boyle. Waking from a coma in a deserted London hospital 28 days later, bicycle courier Jim (Cillian Murphy) takes to the deserted city streets in a state of mystified confusion. Joining forces with another group of survivors following a terrifying encounter in a seemingly abandoned church, Jim soon learns the truth behind the deserted streets and the menacing creatures that lurk in the shadows. It’s soon revealed that the chimpanzees had been harboring a deadly virus that sends its victims into a furious, murderous rage, and in the days following the initial exposure, the entire population was nearly wiped out due to the resulting homicidal rampage. Is there still a glimmer of hope for humanity — or has the deadly “rage” virus found its way to foreign shores and infected the entire planet?

At times, Another 48 Hrs. seems less like a sequel to than a parody of the first 48 Hrs., especially when Nick Nolte, repeating his role from the earlier film, begins commenting on the cliched absurdity of the goings on. This time, Nolte risks life, limb and career as he obsessively tries to bring an elusive master criminal known as “The Iceman” to justice. Eddie Murphy, who stole the show in the first 48 Hrs. as the wheeler-dealer convict who becomes Nolte’s reluctant partner, is brought into the plotline of the second film when a contract is taken out on his life. The adversarial relationship between Nolte and Murphy, supposedly dissipated by the end of the first film, is revivified in the sequel via a couple of plot devices. Still, Murphy rallies to the occasion, in the process saving Nolte from being thrown off the force. Though not as successful as the first film, Another 48 Hrs. proved that there were still enough Eddie Murphy fans around in 1990 to insure a strong box-office showing.

The second sequel to the 1984 sci-fi action classic, Terminator 3: Rise of the Machines is the first film without the involvement of director James Cameron. Instead, Jonathan Mostow, the man behind Breakdown and U-571, has stepped in to fill the shoes left vacant by Cameron. In addition, the role of John Connor from the second film has been recast, with In the Bedroom’s Nick Stahl taking over for Edward Furlong. Set ten years after the events of 1991’s Terminator 2: Judgement Day, the film finds Connor living on the streets as a common laborer. Sarah Connor, his mother, has since died, and their efforts in the second film have not stopped the creation of SkyNet artificial intelligence network. As he will still become the leader of the human resistance, Connor is once again targeted by a Terminator sent from the future by SkyNet. This new Terminator, T-X (Kristanna Loken), is a female and is more powerful than any of her predecessors. To protect Connor, the human resistance sends a new T-101 (Arnold Schwarzenegger) back from the future. Also starring Claire Danes, Terminator 3: Rise of the Machines had its world premiere when it showed out of competition at the 2003 Cannes Film Festival.