Bovie Movie

The plot of this Raymond Chandler-esque comedy crime caper from the Coen Brothers (Joel Coen and Ethan Coen) pivots around a case of mistaken identity complicated by extortion, double-crosses, deception, embezzlement, sex, pot, and gallons of White Russians (made with fresh cream, please). In 1991, unemployed ’60s refugee Jeff “The Dude” Lebowski (Jeff Bridges) grooves into his laid-back Los Angeles lifestyle. One of the laziest men in LA, he enjoys hanging with his bowling buddies, pompous security-store owner Walter Sobchak (John Goodman) and mild-mannered ex-surfer Donny (Steve Buscemi). However, the Dude’s life takes an alternate route the afternoon two goons break into his threadbare Venice, California, bungalow, rough him up, and urinate on his living room rug. Why? Because Jackie Treehorn (Ben Gazzara) is owed money by the wife of a certain Jeff Lebowski. However, the goons grabbed the wrong Jeff Lebowski. With the right info, they would have invaded the home of philanthropic Pasadena millionaire Jeffrey Lebowski (David Huddleston). The Dude looks up his wealthy namesake, manages to get a replacement for his rug, and meets the millionaire’s sexy young wife Bunny (Tara Reid). Later, Jeffrey (”The Big”) Lebowski calls in the Dude to deliver a $1 million ransom for the return of his kidnapped wife. Fine — except that Walter intrudes and botches the ransom drop. As events unravel, the Dude gets caught up in the schemes of Lebowski’s daughter, erotic artist Maude (Julianne Moore), encounters both cops and bad guys, and drifts through an elaborate bowling fantasy sequence titled Gutterballs. The soundtrack includes Bob Dylan, Yma Sumac, Moondog, Captain Beefheart, and the Sons of the Pioneers.

Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman’s turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he’s grown cynical and is convinced that he has no reason to go on. Lester’s relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she’s in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she’s unattractive. Her problems aren’t helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn’t the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.

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.

In this darkly comic drama, Edward Norton stars as a depressed young man (named in the credits only as “Narrator”) who has become a small cog in the world of big business. He doesn’t like his work and gets no sense of reward from it, attempting instead to drown his sorrows by putting together the “perfect” apartment. He can’t sleep and feels alienated from the world at large; he’s become so desperate to relate to others that he’s taken to visiting support groups for patients with terminal diseases so that he’ll have people to talk to. One day on a business flight, he discovers Tyler Durden (Brad Pitt), a charming iconoclast who sells soap. Tyler doesn’t put much stock in the materialistic world, and he believes that one can learn a great deal through pain, misfortune, and chaos. Tyler cheerfully challenges his new friend to a fight. Our Narrator finds that bare-knuckle brawling makes him feel more alive than he has in years, and soon the two become friends and roommates, meeting informally to fight once a week. As more men join in, the “fight club” becomes an underground sensation, even though it’s a closely guarded secret among the participants. (First rule: Don’t talk about fight club. Second rule: Don’t talk about fight club.) But as our Narrator and Tyler bond through violence, a strange situation becomes more complicated when Tyler becomes involved with Marla (Helena Bonham Carter), whom our Narrator became infatuated with when they were both crashing the support-group circuit. Based on the novel by Chuck Palahniuk, Fight Club was directed by David Fincher, who previously directed Pitt in the thriller Seven.

A blend of science fiction and noir detective fiction, Blade Runner (1982) was a box office and critical bust upon its initial exhibition, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built by the Tyrell Corporation for use in dangerous off-world colonization. Deckard’s former job in the police department was as a talented blade runner, a euphemism for detectives that hunt down and assassinate rogue replicants. Called before his one-time superior (M. Emmett Walsh), Deckard is forced back into active duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has escaped and headed to Earth, killing several humans in the process. After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one of his targets. Attacked by another replicant, Leon (Brion James), Deckard is about to be killed when he’s saved by Rachael (Sean Young), Tyrell’s assistant and a replicant who’s unaware of her true nature. In the meantime, Batty and his replicant pleasure model lover, Pris (Darryl Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get close to Tyrell and murder him. Deckard tracks the pair to Sebastian’s, where a bloody and violent final confrontation between Deckard and Batty takes place on a skyscraper rooftop high above the city. In 1992, Ridley Scott released a popular director’s cut that removed Deckard’s narration, added a dream sequence, and excised a happy ending imposed by the results of test screenings; these legendary behind-the-scenes battles were chronicled in a 1996 tome, Future Noir: The Making of Blade Runner by Paul M. Sammon.