Bovie Movie

In this raunchy comedy, Josh (Breckin Meyer), a student at a college in Ithaca, NY, videotapes his one-night stand with beautiful sorority girl Beth (Amy Smart). A few days later, Josh discovers that one of his friends accidentally mailed the homemade porn tape to his girlfriend, Tiffany (Rachel Blanchard), who is spending some time with her family in Austin, TX. Josh and his friends Barry (Tom Green), Kyle (D.J. Qualls), E.L. (Seann William Scott), and Rubin (Paulo Costanzo) borrow a car and hit the road in a desperate bid to intercept the tape before Tiffany loads it into her VCR; Beth, however, wants Josh for herself and has her own plans to track down Tiffany. Road Trip is the first fiction feature from director Todd Phillips, noted for such edgy documentaries as Hated: G.G. Allin & the Murder Junkies, Screwed, and Frat House. The cast also includes Fred Ward and Andy Dick.

Cinderella was Walt Disney’s return to feature-length “story” cartoons after eight years of turning out episodic pastiches like Make Mine Music and Three Caballeros. A few understandable liberties are taken with the original Charles Perrault fairy tale (the wicked stepsisters, for example, do not have their eyes pecked out by crows!) Otherwise, the story remains the same: Cinderella, treated as a slavey by her selfish stepfamily, dreams of going to the Prince’s ball. She gets her wish courtesy of her Fairy Godmother, who does the pumpkin-into-coach bit, then delivers the requisite “be home by midnight” warning. Thoroughly enchanting the prince at the ball, our heroine hightails it at midnight, leaving a glass slipper behind. The Disney people do a terrific job building up suspense before the inevitable final romantic clinch. Not as momentous an animated achievement as, say, Snow White or Fantasia, Cinderella is a nonetheless delightful feature, enhanced immeasurably by the introduction of several “funny animal” characters (a Disney tradition that has held fast into the 1990s, as witness Pocahontas), and a host of a sprightly songs, including “Cinderelly,” “A Dream is a Wish Your Heart Makes,” and — best of all — “Bibbidi Bobbidi Boo.”

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.

Fifty years after releasing their opulent adaptation of the classic fairy tale Cinderella, Walt Disney Productions revisits the characters in this direct-to-video sequel. Cinderella 2: Dreams Come True encompasses three short stories; first, after Cinderella (voice of Jennifer Hale) marries Prince Charming (voice of Christopher Daniel Barnes), she finds it difficult to reconcile her new station in life with the simple ways she’s known in the past. Secondly, the friendly mouse Jacques (voice of Rob Paulsen) wishes he could be a human being — but after the Fairy Godmother (voice of Russi Taylor) makes it so, he discovers it’s a lot tougher than he imagined. And finally, Cinderella takes pity on her stepsister, Anastasia (voice of Tress MacNeille), and teaches her how to smile in the hopes she can find a love of her own. Cinderella 2: Dreams Come True also includes a new song by Brooke Allison, “Put It Together.”

A previously pampered society mouse must fight his way back to the comforts of Kensington after he is sent spiraling into an underground world filled with scavenger rats and villainous toads in a fun-filled family adventure produced by DreamWorks Animation and Aardman Features and featuring the voices of Hugh Jackman, Kate Winslet, Ian McKellen, and Jean Reno. Roddy (Jackman) was living the high life when he first met Sid the sewer rat (Shane Richie), but that’s all about to change when Sid decides to send the hapless mouse down the pipes and stealthily take his place in the lap of luxury. Though the bustling sewer city of Ratropolis isn’t without its fair share of kind citizens, it is certainly no place for a pampered mouse with a taste for life’s finer things. Upon making the acquaintance of scavenger rat Rita (Winslet), Roddy is certain that the pair can navigate their way back to the surface in Rita’s trusty boat, the Jammy Dodger, but Rita’s help doesn’t come cheap, and the nefarious Toad (McKellen) is determined to rid Ratropolis of all things rodent. When Toad’s hapless hench-rats Spike (Andy Serkis) and Whitey (Bill Nighy) fail to achieve acceptable results, the green meanie is forced to call in the cavalry in the form of legendary French mercenary Le Frog (Reno) to get the job done.

Former X-Files writer James Wong makes his sophomore feature as a director at the helm of this science fiction thriller that’s reminiscent of Timecop (1994). In the near future, a technology called “quantum tunneling” allows human beings to travel between parallel universes. The abuse of this ability by criminal elements has led to the formation of the Multi-Verse Authorities or “MVA,” an agency of quantum traveling cops who apprehend violators of inter-dimensional laws. The MVA faces its greatest crisis when a former agent named Gabriel Yulaw (Jet Li) goes renegade, traveling between one universe and the next, murdering his own parallel selves and gaining enormous power with each slaying. It is believed that when Yulaw has become “the one,” the only version of himself to exist, he will be omnipotent, but the final Gabriel Yulaw exists in our plane of existence (the “magna universe”) and is also becoming stronger, though he doesn’t understand why. Hot on the evil Yulaw’s trail are his former partner Harry Roedecker (Delroy Lindo) and Harry’s new colleague Evan Funsch (Jason Statham). Created with Wong’s longtime writing and producing partner Glen Morgan, The One (2001) co-stars Carla Gugino.

This sequel to a family hit based on the popular children’s book by E.B. White again mixes live action actors with computer-animated cartoon characters. Michael J. Fox returns as the voice of Stuart Little, a three-inch tall talking mouse adopted by a human family in New York City. When his older “brother”, George (Jonathan Lipnicki), starts spending more time with his other friends, playing games that Mrs. Little (Geena Davis) feels are too dangerous for the diminutive Stuart, the lonely fellow goes in search of companionship and finds it when he makes the acquaintance of Margalo (voice of Melanie Griffith), a tiny bird wounded by a sinister falcon (voice of James Woods) that is relentlessly pursuing her. While Margalo’s busted wing heals up the Littles’ house, Stuart grows closer to her and falls in love, but his new pal is hiding a secret that involves the villainous falcon and jewelry theft. In order to save his friend and their friendship, Stuart must call upon the assistance of the dreaded Snowbell (voice of Nathan Lane), the Little family cat with a Catskills comic delivery and no great love of Stuart.

Gore Verbinski, the TV-commercials director responsible for the Budweiser frogs, directed this Adam Rifkin screenplay about two brothers (Nathan Lane and Lee Evans) who inherit a string factory and a decaying country home after the death of their father (the late William Hickey, in his last role). After moving in, they learn that the house has historical architectural importance and is valued in the millions. However, they are constantly tormented by a mouse within the walls. They engage in cartoon-like combat against the rodent, but it manages to outwit the brothers in successive situations. Both live and animatronic mice portray the title role, and some scenes assume the mouse’s point of view. The film is dedicated to William Hickey.

E.B. White’s classic children’s story is brought to the screen in this fantasy, which combines computer-animated characters with a cast of live actors. Mrs. Little (Geena Davis), Mr. Little (Hugh Laurie), and their son George (Jonathan Lipnicki) live in a brownstone near New York’s Central Park. The Littles have decided to adopt a younger brother for George, and while they’re meeting the children at an orphanage, they are greeted by a mouse named Stuart (voice of Michael J. Fox), who can talk, walk upright, wear clothes, and do nearly anything a human child can do. The Littles are so taken with Stuart that they decide to adopt him, and soon the rest of the family is just as charmed by Stuart — with the possible exception of Snowbell (voice of Nathan Lane), their house cat. The cast of humans includes Jennifer Tilly, Bruno Kirby, and Dabney Coleman; animal voices are contributed by Chazz Palminteri and Steve Zahn, Jim Doughan, and David Alan Grier.

Douglas Adams’ oft-adapted tale of an normal guy making his way through the universe (it’s already been presented as a novel, a radio serial, a television series, and a comic book) finally makes its way to the big screen in this endearingly goofy sci-fi comedy. Arthur Dent (Martin Freeman) is a very ordinary man who is having a truly unusual day — after discovering that one of his best friends, Ford Prefect (Mos Def), is actually an alien, Ford tells him that the planet Earth is going to be destroyed so that otherworldly forces can make room for construction of a hyperspace bypass. Since Arthur accidentally saved Ford’s life years ago, Ford does him a favor — he first gets him a ride on a spaceship passing by, and then presents him with a guidebook that will tell a beginner everything he needs to know as he hitchhikes through outer space. Along the way, Arthur encounters such interstellar notables as sleazy Galaxy president Zaphod Beebelbrox (Sam Rockwell), the girl of his dreams Tricia McMillan (Zooey Deschanel), perpetually glum robot Marvin (voice of Alan Rickman), interplanetary construction magnate Slartibartfast (Bill Nighy), and cult leader Humma Kavula (John Malkovich). The Hitchhiker’s Guide to the Galaxy was the first feature film for Garth Jennings, previously best known for his work in television commercials and music videos; he was recommended to the producers by director Spike Jonze after Jonze had to turn down an offer to head up the project.