Bovie Movie

The DVD of Goodfellas has got to be one of the very first DVDs ever released by Warner Brothers because they make a critical error in the release. While many films offer widescreen on one side and full screen on the other, this film offers only one version — a widescreen film broken into two sides. Viewers have to flip the DVD over to watch the second half of the film; 19 chapters are on side A and the last 15 chapters are on side B. Goodfellas is a classic film, and the DVD offers a great video transfer and excellent Dolby Digital 5:1 Surround, but no DVD fan will accept the two-sided format. In terms of extras, there are very few, limited only to theatrical trailers, production notes, and cast bios. For many, this Martin Scorsese classic is a must-have for any collection, but those who can wait for a future, corrected release of this film are better off watching the widescreen VHS tape. Language option in English and French and subtitles in English, French, and Spanish.

In a major stumbling block toward better international relations, America’s most laughable police officers are sent to Russia to fight crime in this comedy. In Moscow, master criminal Konali (Ron Perlman) has marketed a new computer game that has an unusual hidden feature — it allows him to bring down any security system controlled by a PC on which the game has been played, with a string of major robberies as the result. Russian Police Commandant Rakov (Christopher Lee) is at his wit’s end about how to deal with the crisis, so he asks for help from the U.S. law enforcement community. However, Rakov’s American allies turn out to be Lassard (George Gaynes), Harris (G.W. Bailey), and the rest of the crew from the Police Academy (among them Michael Winslow, David Graf, and Leslie Easterbrook). Claire Forlani also appears in a small role as a Russian beauty. This was the seventh and last film in the Police Academy series, following the departure of franchise loyalist Bubba Smith.

Nick Chen (Chow Yun-Fat) was the first Chinese-born immigrant in the NYPD, and is now one of the force’s most decorated officers. As such, he’s been named leader of the city’s Asian Gang Unit, who are the primary peacekeepers in Chinatown. Trouble has just arrived for the Triads, the long-entrenched Chinese gangsters who are the real power behind Chinatown. After years of posing as honest businessmen, the Triad’s powers are threatened by the newly arrived Fukienese Dragons. With a gang war on the horizon, the city sends a new recruit, Danny Wallace (Mark Wahlberg), to join Chen’s unit. Danny finds Chen and the AGU in a very comfortable (perhaps too comfortable) relationship with the Triads. When the mobsters attempt to corrupt Danny, Chen must reassess his relationship with the Triads, and Danny must also learn that certain concessions must be made to ensure the peace in this world set apart from the rest of New York.

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.

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.

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.”

Love blooms for a would-be hired killer in Angel’s Dance, which blends elements of a crime thriller with black comedy. Tony (Kyle Chandler) is offered a job with a powerful Mafia family after he saves the life of the capo’s nephew, even though Tony isn’t sure he’s really interested in a life of crime. To give him a crash course in his new line of work, Tony is sent to L.A. to study with Rosellini (James Belushi), a hired killer of no small reputation. After assigning him Nietzsche as required reading and staging a few practice sessions with water pistols, Rosellini gives Tony his final homework project — pick a name at random from the phone book, find the person, and kill him or her. The name Tony comes up with is Angelica Chase (Sheryl Lee), “Angel” to her friends. Tony finds Angel just in time to interrupt her latest suicide attempt; Angel is beautiful and charming, but an emotional wreck with eccentric tastes, a caffeinated personality, and a job at a mortuary (she even lives next door). Tony is immediately infatuated and can’t bring himself to kill her, so Rosellini decides he has to take over the job, but to the surprise of everyone, Angel knows how to handle herself in a time of crisis.

Two low-level American crooks head to Australia, where they match wits with a kangaroo (who appears to have an intellectual edge on his pursuers) in this broad comedy. Charlie Carbone (Jerry O’Connell) is a hairdresser from Brooklyn whose best friend, Louis Booker (Anthony Anderson), scrapes together a living moving stolen merchandise. Charlie’s stepfather, Sal Maggio (Christopher Walken), is a crime kingpin who has loaned Charlie a lot of money and wants to know when he’ll get it back; Sal’s not especially fond of Louis, especially after he and Charlie accidentally lead the police to a storehouse of burgled goods owned by Sal. Charlie owes Sal a big favor, and Sal wants Charlie and Louis out of his hair for a while, so Sal sends them to Australia, where they’re to deliver a large amount of cash to a mysterious Mr. Smith (Marton Csokas). En route to their meeting in the outback, Charlie and Louis accidentally run over a kangaroo, and the half-bright tourists decide to dress the dead marsupial in sunglasses and Louis’ favorite jacket for snapshots. However, the animal wasn’t as dead as they imagined, and it soon hops away, shortly after Louis realizes the payment to Mr. Smith was in the pocket. Now Louis and Charlie are out to find the fast-moving critter, with the help of Jessie (Estella Warren), a wildlife expert; Mr. Jimmy (David Ngoombujarra), a wilderness guide; and Blue (Bill Hunter), a pilot familiar with the outback.

After a break of more than 15 years, director Francis Ford Coppola and writer Mario Puzo returned to the well for this third and final story of the fictional Corleone crime family. Two decades have passed, and crime kingpin Michael Corleone (Al Pacino), now divorced from his wife Kay (Diane Keaton), has nearly succeeded in keeping his promise that his family would one day be “completely legitimate.” A philanthropist devoted to public service, Michael is in the news as the recipient of a special award from the Pope for his good works, a controversial move given his checkered past. Determined to buy redemption, Michael and his lawyer B.J. (George Hamilton) are working on a complicated but legal deal to bail the Vatican out of looming financial troubles that will ultimately reap billions and put Michael on the world stage as a major financial player. However, trouble looms in several forms: The press is hostile to his intentions. Michael is in failing health and suffers a mild diabetic stroke. Stylish mob underling Joey Zaza (Joe Mantegna) is muscling into the Corleone turf. “The Commission” of Mafia families, represented by patriarch Altobello (Eli Wallach) doesn’t want to let their cash cow Corleone out of the Mafia, though he has made a generous financial offer in exchange for his release from la cosa nostra. And then there’s Vincent Mancini (Andy Garcia), the illegitimate and equally temperamental son of Michael’s long-dead brother Sonny. Vincent desperately wants in to the family (both literally and figuratively), and at the urging of his sister Connie (Talia Shire), Michael welcomes the young man and allows him to adopt the Corleone name. However, a flirtatious attraction between Vincent and his cousin, Michael’s na?ve daughter Mary (Sofia Coppola) develops, and threatens to develop into a full-fledged romance and undo the godfather’s future plans.

In the same year that a hit cable television series, The Sopranos, successfully mined the same premise, this comedy about a mobster seeking advice from a psychiatrist was a box office winner for director Harold Ramis. Billy Crystal stars as Dr. Ben Sobel, a New York shrink who’s becoming a little bored with his upscale but neurotic clientele. Into Sobel’s practice comes a guy with legitimate problems, Mafia kingpin Paul Viti (Robert DeNiro), a godfather who is being reduced to tears and panic attacks by stress and his guilt over his beloved father’s assassination. Intimidated but also fascinated by Viti, Dr. Sobel becomes frustrated when his mob boss patient becomes a full-time occupation, as Viti summons the psychiatrist for his professional help at all hours and in all places, even including the doctor’s Florida wedding to TV reporter Laura MacNamara (Lisa Kudrow). In the meantime, a power struggle is brewing with Viti’s long-time rival Primo Sidone (Chazz Palminteri), but Viti begins employing the feel-good self-help jargon and techniques he’s learned from Dr. Sobel to keep his enemy off balance. Just as the therapist and his powerful patient are making breakthroughs, the FBI attempts to persuade Sobel that Viti is going to have him murdered, leading to a nearly lethal misunderstanding.