Bovie Movie

This acclaimed British comedy centers on the intermittent romance between a charming (if slightly bumbling) Englishman and a beautiful American woman, who seem to always run into each other at weddings. Indeed, it is at the first of the title’s four weddings that Charles (Hugh Grant) and Carrie (Andie McDowell) meet, enjoying a brief but fleeting connection. The spark is rekindled several months later, when they unexpectedly meet at another wedding. Unfortunately, however, Carrie has become engaged to another, a fact that complicates matters for them both. The story may seem simple, but the film is elevated by screenwriter Richard Curtis’ ear for witty dialogue and a colorful supporting cast. Director Mike Newell’s sympathetic attention to character keeps the proceedings believable, and prevents the film’s more serious moments from seeming mawkish. These elements, along with Grant’s star-making performance as Charles, helped the film achieve unexpected international success, including an Academy Award nomination for Best Picture.

The tale of King Arthur and the Knights of the Round Table is always ripe for retelling. In this rendition, the sexy Richard Gere is Sir Lancelot, threatening to supersede the aging King Arthur (Sean Connery) by winning the love of his young wife Guinivere (Julia Ormond). This update of the age-old legend succeeds on the strength of Gere’s happy-go-lucky sex appeal, Ormond’s gorgeous period costuming, and Connery’s unbeatable wry nobility. The script focuses on the triangle of the three principals: the older man’s reluctance to relinquish his love and power to the younger man destined to supplant him; the young woman torn between her loyalty to her aged husband and her love for his rival; the young man balancing the demands of loyalty to his sovereign with the rewards of true love. This beautiful production forgoes the legend’s usual elements of magic and fantasy, leaving Merlin the Magician completely out of the picture.

The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he’d prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, “protected” from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O’Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who’ve been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to “westernize” himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war’s end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City…as a tourist. Bernardo Bertolucci’s first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director.

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.

This lavish big-budget epic was the pinnacle of a uniquely Italian subgenre, the historical hardcore gore/porn extravaganza. The star-studded cast, perhaps lured by the high-profile involvement of producer Bob Guccione and screenwriter Gore Vidal, includes such luminaries as John Gielgud, Peter O’Toole, and Helen Mirren. Director Tinto Brass, whose similar treatment of Nazi Germany in Salon Kitty won him the job, did his best with the mammoth enterprise, but numerous production problems and re-edits took their toll on the finished product. When Caligula works best, it works because of Malcolm McDowell, whose crazed portrayal of the title Emperor is the embodiment of villainous corruption. McDowell raises his performance level to match the gaudy spectacle around him, which led to charges of overacting, but there are moments when he is absolutely riveting. Some of the cast doesn’t fare as well, as O’Toole makes a particularly unsubtle Tiberius. The sex is graphic and steamy, particularly a feverish lesbian interlude between Penthouse Pets Lori Wagner and Marjorie Thorsen (using the pseudonym “Anneka di Lorenzo”), and the various carnival freaks used as atmosphere imbue the film with a grotesque, Fellini-like opulence. There are many memorable scenes and a magnificent score by Paul Clemente, but the heady brew of historical epic, hardcore sex, and gory violence proved overwhelming to many viewers. Still, Gore Vidal’s script is surprisingly accurate, and manages to be entertainingly vulgar while bringing a rather loathsome slice of human history to vivid life, warts and all. The more explicit scenes were directed by Bob Guccione and Giancarlo Lui, causing both Vidal and Brass to remove their names from the credits.

This thriller takes place in Blue Bay, Florida, where social-climbing guidance counselor Sam Lombardo (Matt Dillon) is indifferent to teen-socialite Kelly Van Ryan (Denise Richards), who retaliates by accusing him of rape, an accusation that leads to his suspension by the school and a rejection from the country club. He can’t afford a big attorney, so he hires shrewd Ken Bowden (Bill Murray), while Kelly’s mom, Sandra Van Ryan (Theresa Russell), Sam’s former lover, gets a platoon of top lawyers. Trailer-trash Suzie Toller (Neve Campbell) backs up Kelly’s claim and additional plot twists and turns develop. The seldom-seen Carrie Snodgrass (Diary of a Mad Housewife) has a supporting role in this film.

A reporter unexpectedly gets a personal perspective on a legendary show-business story in this adaptation of Rupert Holmes’ novel, scripted and directed by noted Canadian independent filmmaker Atom Egoyan. In the mid-’50s, Lanny Morris (Kevin Bacon) and Vince Collins (Colin Firth) were a wildly popular comedy team who suddenly and unexpectedly broke up at the peak of their popularity. Fifteen years after Morris and Collins called it quits, journalist Karen O’Connor (Alison Lohman), who has earned a reputation for her celebrity expos?s, wants to write about the true story of what happened with Morris and Collins — and to her surprise, her publisher tells her Collins has agreed to co-author the book for a cool million dollars. The only catch is that Collins has to tell the full truth about a very large skeleton in the team’s closet — a beautiful naked woman was found drowned in the bathtub of Morris and Collins’ hotel suite shortly before they broke up the act, and while the comics were cleared of any wrongdoing, rumors about the incident followed them for years. As O’Connor and Collins complete their book, they learn to their surprise that Morris has opted to write a book of his own about the team’s career; eager to learn what Morris has to say, O’Connor meets him posing as a schoolteacher, and soon falls into an unexpected romantic relationship with him. O’Connor soon finds herself playing two sides against one another as she tried to learn the truth about two men with dark and scandalous pasts. Where the Truth Lies became the subject of unexpected controversy when the MPAA gave the film an NC-17 rating due to a brief scene involving a m?nage ? trois; the film earned significantly more lenient rating in other countries.

This film was one of the more mainstream offerings in the array of films that emphasized the overly hyped “Generation X” phenomenon, a list that ranges from Slacker to Singles and includes a host of other films. Winona Ryder stars as Lelaina, a recent college graduate. Out on her own and independent from her supportive, but out-of-touch parents, Lelaina faces the realities of careers and relationships. She can’t stand her internship under a local television personality (John Mahoney), and she’s forced to choose between Michael (Ben Stiller), a well-intentioned music-video network executive, and Troy (Ethan Hawke), a brooding, sensitive slacker. Meanwhile, she must also protect the artistic integrity of “Reality Bites,” a video documentary that depicts the everyday lives of her friends (Hawke, Janeane Garofalo, and Steve Zahn). This 1994 release also marks the feature directorial debut of Ben Stiller.