Bovie Movie

The third of John Woo’s American-made feature films, Face/Off stars John Travolta as Sean Archer, an FBI agent obsessed with capturing Castor Troy (Nicolas Cage), a criminal genius who years before killed Archer’s son while trying to assassinate the agent. Archer’s single-minded pursuit of Troy has caused serious harm to his marriage, but Archer thinks the light may have appeared at the end of the tunnel when a seriously wounded Troy is captured in a bloody shootout. However, it turns out that Troy has planted a time bomb, with a biological payload that could destroy the entire city of Los Angeles — and Troy isn’t about to say where it is. The only other person who knows the bomb’s location is Troy’s brother, Pollux (Alessandro Nivola), who is no more helpful than Castor. FBI scientists hatch a plan: they have developed an experimental surgery which would allow them to graft Troy’s face temporarily on Archer’s head and allow him to question Pollux as if he were his brother. But after Archer has taken Troy’s face, Troy regains consciousness and forces the doctors to give him Archer’s face. Now the criminal mastermind has the FBI at his disposal, and the lawman is underground with few places to turn. Along with Woo’s usual elaborately choreographed action scenes, Face/Off features a number of notable supporting performances, including Joan Allen as Archer’s wife, Colm Feore and C.C.H. Pounder as FBI scientists, and Gina Gershon as Troy’s loyal but long-suffering girlfriend.

Supernatural forces hover over the courtroom in this devilish drama adapted from the novel by Andrew Neiderman. Attorney Kevin Lomax (Keanu Reeves) doesn’t heed the Bible-based warnings of his mother (Judith Ivey), who views New York City as “the dwelling place of demons.” Instead, he leaves Gainesville, Florida, with his wife Mary Ann (Charlize Theron) to put his legalistic skills to the test at a leading Manhattan law firm run by John Milton (Al Pacino). It all goes smoothly — with Milton urging them to stay, putting Kevin on a $400-per-hour salary, and moving the couple into a luxurious apartment in his own building on Fifth Avenue — where Mary Ann falls under the influence of neighbor Jackie (Tamara Tunie). After Kevin defends a weird animal sacrificer (Delroy Lindo, uncredited), he moves up to an important case with an apparent murderer, real-estate tycoon Alexander Cullen (Craig T. Nelson). Ignored by Kevin, the troubled Mary Ann has some disturbing experiences, verging on the occult, while Kevin, at work, becomes attracted to redhead Christabella (Connie Neilsen). Dazzled by his entrance into paradise, Kevin doesn’t grasp who handed him this Big-Apple success. Could it be…Satan? The film features demonic creatures by Rick Baker. Cameos (Senator Alfonse D’Amato, Don King, others) add to the ambiance of ambition and power in the canyons of Manhattan.

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola’s Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz’s compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz’s insane dictum to “Drop the Bomb. Exterminate them all.” Coppola himself was not certain either, and he tried several different endings between the film’s early rough-cut screenings for the press, the Palme d’Or-winning “work-in-progress” shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker’s Apocalypse. Despite the studio’s fears and mixed reviews of the film’s ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall’s psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro’s cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.

Bill Murray, Dan Aykroyd, Harold Ramis and Ernie Hudson star as a quartet of Manhattan-based “paranormal investigators”. When their government grants run out, the former three go into business as The Ghostbusters, later hiring Hudson on. Armed with electronic paraphernalia, the team is spectacularly successful, ridding The Big Apple of dozens of ghoulies, ghosties and long-legged beasties. Tight-lipped bureaucrat William Atherton regards the Ghostbusters as a bunch of charlatans, but is forced to eat his words when New York is besieged by an army of unfriendly spirits, conjured up by a long-dead Babylonian demon and “channelled” through beautiful cellist Sigourney Weaver and nerdish Rick Moranis. The climax is a glorious sendup of every Godzilla movie ever made-and we daresay it cost more than a year’s worth of Japanese monster flicks combined. Who’d ever dream that the chubby, cheery Stay-Puft Marshmallow Man would turn out to be the most malevolent threat ever faced by New York City? When the script for Ghostbusters was forged by Dan Aykroyd and Harold Ramis, John Belushi was slated to play the Bill Murray role; Belushi’s death in 1982 not only necessitated the hiring of Murray, but also an extensive rewrite. The most expensive comedy made up to 1984, Ghostbusters made money hand over fist, spawning not only a 1989 sequel but also two animated TV series (one of them partially based on an earlier live-action TV weekly, titled The Ghost Busters.

Disney’s animation team dipped into the rich well of ancient mythology for this musical comedy. The son of Greek gods Zeus (voice of Rip Torn) and Hera (Samantha Eggar), Hercules (voice of Josh Keaton) is stolen as a boy by the minions of Hades (voice of James Woods), lord of the underworld. Forced to live among humans, Hercules is turned into a half-god and half-mortal after drinking a forbidden potion brewed by Hades’ right hand men, Pain (voice of Bob Goldthwait) and Panic (voice of Matt Frewer). Now Hercules has the remarkable strength of a god, but is trapped in the body of a human, and before he learns how to use his power properly he goes through a typically adolescent awkward period. In order to become a god and return to his home on Mount Olympus, Hercules must prove himself a true hero on Earth. With the assistance of Philotes (voice of Danny De Vito), a plucky satyr known as “Phil,” the grown-up Hercules (voice of Tate Donovan) learns to use his strength to his advantage and becomes a famous and benevolent protector of those around him, successfully battling a variety of gods and monsters. However, Hades, wanting to cut Hercules down to size, sends his secret weapon after him — Megara (voice of Susan Egan), a seductively beautiful woman under Hades’ control, who is to win Hercules’ heart and render him helpless against the forces of the underworld. Acclaimed British cartoonist Gerald Scarfe served as production designer for this project, while Alan Menken wrote the musical score. Incidentally, for the Spanish language version of the film, Latin pop singer Ricky Martin provided the singing voice of Hercules, two years before he became a chart-topping sensation in America with his hit single “Livin’ la Vida Loca.”

In this sci-fi/horror scarefest, Dr. William Weir (Sam Neill) is a scientist who has designed a spacecraft called Event Horizon which will explore the outer reaches of space past the planet Neptune; the ship employs a special transport mechanism that, in effect, creates a black hole that the ship can pass through, allowing it to travel tremendous distances in a few seconds. The Event Horizon mysteriously disappears in the midst of a mission with no trace of either the ship or its crew, but it reappears in Neptune’s orbit after a seven year absence and it’s sending out a distress signal. The spaceship Lewis and Clark, and Dr. Weir, are sent to investigate; the crew — Captain Miller (Laurence Fishburne), pilot Smith (Sean Pertwee), engineer Justin (Jack Noseworthy), navigator Starck (Joely Richardson), physician D.J. (Jason Isaacs), and emergency technicians Peters (Kathleen Quinlan) and Cooper (Richard T. Jones) — are already tired and unenthusiastic about this assignment, and somewhat confused by Weir’s reports. The crew of the Lewis and Clark are convinced that Weir is not telling them something, and when they discover the Event Horizon, they find that things are not what they seem, and an evil presence has taken over the ship. Incidentally, the term “event horizon” describes the outer boundaries of a black hole.